Local Artists Shine in 10x10x10 at Fells Point Corner Theatre

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 15 minutes with one 15-minute intermission

10-minute play festivals are popping up all over the place these days. It’s become a little easier for authors to present their work to the public in both short form and feature length, but Baltimore just seems to have a knack for such things. Fells Point Corner Theatre has been presenting their 10x10x10 for a few years now, and have not disappointed. They choose relevant, entertaining pieces to produce and always acquire a superb cast of 10 actors to perform them. With no specific theme, they still manage to gather a group of plays together that fit nicely with each other and present the talents of the author, director, and performers.

Starting off the evening we have Harmony, Fix My Life, written and Directed by Christen Cromwell, with Grace O’Keefe as Kamryn, Shamire Casselle as Harmony, and Rob Vary as Simon. This was a fun way to start this 10-minute play presentation and Cromwell has written a light-hearted but serious piece about the responsibilities of men and women and newborns in today’s world. Rob Vary, though a bit subdued and scripted, pulls off the role of the young father nicely and seems to understand the message his character is trying to send. O’Keefe gives a natural performances as the young, tired mother, but the highlight of this piece is Shamire Casselle who shines as fairy godmother. Her high-energy and natural delivery of the dialogue keep the piece engaging and entertaining making for a great showing all around.

(l-r) Dana Woodson and Jenn Alexander. Credit: Trent Haines-Hopper/THsquared Photography

Next, There is No More Left of Me After This by Jen Diamond, Directed by Betse Lyons with Karen Shantz as tina and Jenn Skarzynski as Kat is a surreal piece about coming to terms with death and whatever fate has in store for you. It’s a downer, but well written and Lyons’ staging is simple with great character work. Shantz and Skarzynski tackle these two tough roles naturally and confidently tell the short story superbly. Diamond has crafted a relaxing, but thoughtful piece that leaves the audience thinking.

Shamire Casselle and Jared Michael Swain. Credit: Trent Haines-Hopper/THsquared Photography

Easily, one of my top choices of the evening, Reasons for Separation by Isaiah Harvey, Directed by Christen Cromwell, with Shamire Casselle as Shay and Jared Michael Swain as Marc, is a fast-paced, well-crafted piece that smacks you in the face with no apologies. It’s a current, relative story of divorce and what people go through during it, with real characters that Casselle and Swaine seem to embody and bring to life effortlessly. They have great chemistry and it helps the material immensely.

Things We Talk About at 4:00 in the Morning by Erica Smith, Directed by Betse Lyons with Jenn Alexander as Spencer and Dana Woodson as Terry is an interesting and entertaining piece about a young couple dealing with an illness in on of the young women. The twist is quite interesting and Smith almost had me fooled, until I remembered the time in which we live and what’s big in popular culture these days. Alexander and Woodson have great chemistry and portray these characters with feeling and high emotion. Lyons’ staging is simple, but effective and makes for an all around good showing.

(l-r) Christian O’Neill, Karen Shantz, and Tom Piccin. Credit: Trent Haines-Hopper/THsquared Photography

Ending out the first act, we are presented with UH: A Brief Musical by Utkarsh Rajawat, Directed by Donna Ibale with Tom Piccin as Demon, Christian O’Neill as Angel, and Karen Shantz as Person which, I have to say, is not on my list of favorites. However, Piccin, O’Neill, and Shantz give stellar performances and Ibale’s staging is on point, the script is lackluster. The concept isn’t exactly new and the script seems like a rush job. It’s unfortunate because I enjoyed previous work by Rajawat at the 10x10x10 (read that review here) but this piece just doesn’t seem up to par with the previous work. Great performances and staging save this piece and the performers and Director should be applauded for their efforts.

Starting off Act II we have I Saw This is Paducah by Rich Espey, Directed by Matthew Shea, with Jenn Skarzynski as Barb and Jenn Alexander as Alice, and Rob Vary as Announcer is in the list of my favorites of the evening. It’s an immersive piece about two friends who are regular theatre goers, especially of the short works festivals, such as 10x10x10. Shea’s staging is spot on including the audience but not getting in our faces, which is a perfect blend. Espy seems to be poking fun at more conservative, old fashioned views of the world, but he does so subtly and not facetiously. Skarzyski hits the nail on the head in her portrayal of Barb, the narrow-minded, dominant, outspoken patron who wants everyone to abide by the rules and Alexander performs her character, Alice, with just enough meekness to feel sorry for her, but also enough chutzpah that you know she can take care of herself. All around, it’s a great piece with a good production value. Kudos to all.

Dana Woodson. Credit: Trent Haines-Hopper/THsquared Photography

Mira by Tatiana Nya Ford, Directed by Donna Ibale with Dana Woodson as Woman and Jared Michael Swain as Man is a poignant and thoughtful piece about a woman in a coma who is to reconcile her reality with her fantasy. It’s a 10-minute, fast-paced monologue that seems to be stream-of-consciousness and Woodson chews it up and spits it out marvelously. She has a good handle on the material and presents it confidently, making for a great showing. Ibale’s staging is simple, but effective and puts the audience in the mind of this woman. In Swain’s short stage time, he emotes the emotions of his character, the son of the woman in the coma, and brings the entire piece home. Kudos to all inovled.

Beer Bottle Bug by David J. Hills, Directed by Matthew Shea, with Karen Shantz as Carrie and Christian O’Neill as Ty is a fanciful, humorous piece about a woman who thinks she has certain supernatural powers and it’s delightful. Not one of my favorites, but certainly entertaining. Hills creates a world where the impossible seems possible and leaves the audience wondering, which any good book should do. Shantz and O’Neill portray their modern characters effortlessly and have a great chemistry adding to the production value. Shea’s staging is appropriate and easy to follow making it a well-rounded piece to be included in this production.

Grace O’Keefe and Tom Piccin. Credit: Trent Haines-Hopper/THsquared Photography

The Home for Retired Canadian Girlfriends by John Bavaso, Directed by Steve Goldklang, with Tom Piccin as Rupert and Grace O’Keefe as Tiffany is probably one of my favorites of the evening. Bavaso creates an imaginary world where imaginary girlfriends go when they are no longer needed. It’s relatable, current, and relevant with a solid script and concept. His dialogue is easy to follow and natural. Goldklang stages it simply but keeps it engaging all at the same time, which is no small feat for a short piece. Piccin and O’Keefe shine in their roles and bring out the comedy and tragedy of these characters and this piece as a whole.  Their effective and praise-worthy performances drive this play along with their natural delivery of the dialogue and spot on comedic timing. A major kudos to all involved in this piece.

Knock Knock by Rich Pauli, Directed by Steve Goldklang, with Christian O’Neill as Dave and Jenn Alexander as Francesca was a curious choice to end this production, but I can understand the reasoning. It concerns itself with the last man on earth and his Amazon Echo. Reminiscent of Stanly Kubrick’s 2001: A Space Odyssey, the Amazon Echo takes the place of H.A.L., even stating “I’m sorry, Dave, I can’t do that,” at one point. It’s well performed, Goldklang’s staging is superb, and Pauli’s script is current and well-written, but the concept has been done over and over again. It’s hard to freshen up an old concept such as “the last man on earth” but Pauli does his best and the piece is entertaining. O’Neill brings a certain urgency and panic to the character that is required and makes for a terrific showing and overall good presentation of the piece.

Final thought… 10x10x10, is a quirky menagerie of very original and fun 10-minute plays that keep the audience engaged and even thinking, at times, some are better than others, but all of them have heart. The performers are grasp the concepts of these short pieces nicely and the directors seems to have good comprehension of the material making for an enjoyable, entertaining, and even thought provoking evening. Kudos to the authors for putting themselves and their work out there and I’m very interested to see more of their work in the future.

This is what I thought of this production of 10x10x10 at Fells Point Corner Theatre.… what do you think?

10x10x10 will play through June 16 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD 21231. For tickets, call 410-276-7837 or purchase them online.

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Review: Putin on Ice (This Isn’t the Real Title of This Show) at Single Carrot Theatre/The Acme Corporation

By Jason Crawford Samios-Uy

Running Time: 90 minutes with no intermission

Vladimir Putin is a curious character. Working his way up from the ranks of the KGB all the way up to the presidency of Russia, we all have our own opinions of him and some are more vocal about them than others. In the media, he’s portrayed in many different ways and his antics are regularly reported such as his stints practicing Judo or donning an ice hockey uniform and skating around the rink. Whatever you think about him, Single Carrot Theatre’s (with The Acme Corporation) latest offering, Putin on Ice (This Isn’t the Real Title of This Show) by Lola B. Pierson, Directed by Yury Urnov, with Lighting Design by Eric Nightengale, Sound Design by Steven Krigel, and Video Design by Nitsan Scarf, attempts to give a few facts and explanations about this complex, sometimes absurd man and through the style of Absurdist Theatre, actually makes for an charming, thought-provoking evening of theatre.

The cast of Putin on Ice (This Isn’t the Real Title of This Show). Credit: Single Carrot Theatre

I’ve got to admit. I do, in fact, have a strong dislike of Theatre of the Absurd, but… I can definitely appreciate it and this production is so tight and engaging, I’m able to appreciate it even more. From what I could gather, Putin on Ice (This Isn’t the Real Title of This Show) is trying to send the message that Putin is everywhere, no matter what the situation may be. It’s absurd, of course, but stranger things are possible, right? Each actor takes on a persona of the president and the ensemble performs through different scenarios to explain how this is possible and if it weren’t for the energized, polished performance, I probably would have taken them up on their offer that I could leave at any time, but… I didn’t. I was enthralled with this performance and the technical aspects involved that I sat through the entire 90 minutes and was thoroughly entertained.

The cast of Putin on Ice (This Isn’t the Real Title of This Show). Credit: Single Carrot Theatre

Lighting and Sound Design by Eric Nightengale and Steven Krigel, respectively, are two aspects of this production that shine through and pull this piece together. I’d compare Nightengale’s design to any big professional theatre out there today. He creates a night-club like atmosphere, for most of the show, but also manages to tone it down for more “serious” parts and it all works seamlessly. He knows his space and the staging well and keeps everything moving along nicely, setting the mood for each scene. Working in tandem with Nightengale’s Lighting Design, Krigel’s Sound Design is on point and impeccable. With appropriate sound effects, and the use of a live mic, Krigel’s work adds great value to this production. Both Nightengale and Krigel should be applauded and commended for their work on this piece. Kudos for a job well done!

Another technical aspect for this production is Video Design by Nitasan Scharf. Video and images play a huge part in this production and Scharf has put together a perfect design to help tell the story and move it along. I can only imagine the hours put into programing text and finding images that coincide with the onstage action but Scharf has done a splendid job and it’s clear his hard work and efforts have paid off.

The cast of Putin on Ice (This Isn’t the Real Title of This Show). Credit: Single Carrot Theatre

Jarod Hanson serves has Movement Director of this production and, though most of his work it seems happens at the beginning and during transitions, it is stellar. The ensemble is tight and polished and… that beginning. The movement, lights, and sound really get this production started with a bang and it keeps going from there. I gotta say, I am thoroughly impressed with the movement and choreography that goes into this piece and keeps it high-energy. I tip my hat to Hanson for his work on this production.

Yury Urnov takes the helm of this production and his Direction is spot on in, not necessarily telling a story, which I’m sure he can do just fine, but in getting the message across in this crazy style of theatre. I usually see Theatre of the Absurd as an art installation with people moaning and rolling around on the floor, however, not so much the case with this production. I was able to follow along easily and his staging keeps the energy up and the audience engaged. It’s clear he understands the style and the material and presents it in a way that is not too far “out there” and the comedy is not buried under pretentiousness. Urnov seems to be able to take this piece seriously, but the comedic aspects are not lost to him, at all. His casting is on point and the production, as a whole, with so many different aspects, works perfectly.

The cast of Putin on Ice (This Isn’t the Real Title of This Show). Credit: Single Carrot Theatre

One of the aspects I enjoy most about this production is that it is truly and ensemble piece where everyone is working together with no lead or featured character. The entire cast works well with and off of each other making for a smooth flowing and sophisticated production. Tania Karpekina (as Herself) starts us off speaking only in Russian and it sets the mood for the entire piece. I don’t speak Russian, but that was OK as her performance and delivery of her dialogue was good enough to keep me in the loop (that’s to say, I understood what she was saying enough to follow along, of course). All of the Putins: Baby Putin (Molly Cohen), Hockey Putin (Paul Diem), Judo Putin (Alix Fenhagen), Military Putin (Sophie Hinderberger), Putin with the Animals (Ben Kleymeyer), Putin with the Birds Separately (Meghan Stanton), Party Putin (Matthew Shea), Religious Putin (Mohammad R. Suaidi), and Drag Putin (Kaya Vision) all work hand in hand to relay this message to the audience and they do it skillfully and honestly with superb delivery of the dialogue and appealing staging. There’s even an impressive musical number with Paul Diem on Bass, Meghan Stanton on Piano, Matthew Shea on Trumpet, and Mohammad R. Suaidi on percussion, with vocalists Molly Cohen and Kaya Vision that brings the house down and these actors are playing their own instruments and singing live.

The cast of Putin on Ice (This Isn’t the Real Title of This Show). Credit: Single Carrot Theatre

Overall, I may not have liked the style of theatre for this production, I cannot deny the impeccable performances and superb production and technical aspect that makes this a successful production.

Final thought…Putin on Ice (This Isn’t the Real Title of This Show) isn’t my cup of tea but it is a very polished, well-put together production that Single Carrot Theatre should be proud of and applauded for. The performers are dedicated and have a solid grasp on Theatre of the Absurd. The mulit-media aspect keeps it engaging and interesting and the use of sound and light is enveloping keeping the audience in the heart of the piece. It’s a political driven work but the author is wise enough to let people know information is just being presented but, in the end,, the individual leaves with questions to think about and come up with his or her own opinions. It’s an innovative, creative experience that you should check out this season. Just remember… you are free to leave at any time.

This is what I thought of Single Carrot Theatre’s production of Putin on Ice (This Isn’t the Real Title of This Show)… What did you think? Please feel free to leave a comment!

Putin on Ice (This Isn’t the Real Title of This Show) will play through October 7 at Single Carrot Theatre, 2600 North Howard Street, Baltimore, MD. For Tickets, call the box office at 443-844-9253 or purchase them online.

Email us at backstagebaltimore@gmail.com

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Review: A Public Reading of An Unproduced Screenplay About the Death of Walt Disney at Single Carrot Theatre

By Jason Crawford Samios-Uy
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Running Time: Approx. 90 minutes with no intermission
Walt Disney. Chances are, you know who he is and, more importantly, what he’s done. There’s no denying the man was uber-successful in business and “the happiest place on earth” came from the depths of his mind. However, for all the joy and happiness he brought to millions upon millions of people of all ages, even until this day, there was, of course, a darker side to this captain of industry. In Single Carrot Theatre’s latest offering, A Public Reading of an Unproduced Screenplay About The Death of Walt Disney by Lucas Hnath, Directed by Genevieve De Mahy and Matthew Shea, they shed light on the more unsavory characteristics of the this “Uncle Walt” and gives a glimpse into behind the scenes of some of his best and brightest ideas.

Disney Press - Meghan Stanton, Eric Poch, Paul Diem, Mohammad R. Suaidi 2

(l-r) Meghan Stanton, Eric Poch, Paul Diem, Mohammad R. Suaidi. Credit: Britt Olsen-Ecker


Don’t let the title fool you. This piece is not just a reading but a play about a reading of an unproduced screenplay. Actually, it’s kind of clever. The screenplay being read is supposedly one written by Walt Disney himself, about himself, and includes background information during various points of interest in his life that the public may not have been privy to. If its point was to make Walt Disney look like a completely self-centered asshole who did what he needed to see out his visions and dreams, no matter what it was he had to do or say or who he had to hurt, this piece was totally successful. My question is… why?
I’m not a total fanatic when it comes to Disney. I enjoy the films, the music, the theme parks, all that… but I’m not going out of my way for them. However, with that being said, I’m curious as to why this piece was written. Was it simply to mar a man’s name? To shatter an image? To break the magic his name has brought to the aforementioned millions upon millions of people who live and breathe anything Disney and soak up it creates? If so, why? What’s the point? What’s more, the man isn’t even around to defend himself. Why try to destroy the legacy of man who has brought happiness to the world? One argument could be because bringing that happiness brought pain and strife to others. I don’t deny that. It probably did, or so says Lucas Hnath in this script. But, please, show me a man as successful as Disney who built an empire being the nice guy all the time. Is it right? I won’t tell you what’s right or wrong, that’s for you to decide for yourself, but is it a necessary evil when trying to attain the success Disney wanted? Yes. The material in this piece seems one sided and bitter and doesn’t seem to tell the story for enlightenment, but, for reasons only known to the author, for spite and “sticking it to the man,” as it were. That’s how I see it, anyway.
Disney Press - Mohammad R. Suaidi, Paul Diem

Mohammad R. Suaidi, Paul Diem. Credit: Britt Olsen-Ecker


But I digress… I’ll step off my soapbox and get into the production itself, which is actually a very well-put together production. I could have done without the production of getting from the lobby to my seat, going through a dark, tight corridor with LED icicles that, I assume, is supposed to represent some kind of theme park or carnival attraction, then the clog at the performance space entrance because we had to stop to be seated personally by “Mr. Disney” with this Cheshire cat smile. When it’s general seating, I like to get from the lobby to my seat (which I like to choose) as quickly and efficiently as possible.
One major problem with this piece is the script. I am actually a fan of Lucas Hnath and it pains me to say, but this script is nothing but a jumble with incomplete sentences and cut offs. It’s hard to follow along and it continues through the ENTIRE piece. Luckily, this production of chock full of an able cast because the script is pretentious and trite being more show than substance.
Disney Press - Mohammad R. Suaidi, Meghan Stanton, Paul Diem

Mohammad r. Suaidi, Meghan Stanton, Paul Diem. Credit: Britt Olsen-Ecker


The space, however, is set up beautifully and that’s one of the things I really like about Single Carrot Theatre – their ability to change their space to fit the needs of the production. The tiered seating worked nicely for this production and the minimal Scenic Design by Kristin Hessenauer, Hayden Muller, Allison Blocechl, Cydney Cohn, and Sierra Ho is appropriate and effect, but I’m not sure why so many hands were involved in such a minimal Scenic Design… unless they are counting the seating arrangement and creepy entrance corridor, then maybe, but the simple cramped conference room setting is fitting and helps set the mood of this production.
Lighting Design by Helen Garcia-Alton and Sound Design by Glenn Ricci are impeccable and really help move this piece along. The changes from dim to full light are flawless and set the time and mood for each scene bringing the action together seamlessly. Garcia-Alton manages to capture the two sides of Walt Disney with both subtle and drastic changes in the lighting and keeps the audience engaged. Playing in tandem with the Lighting Design, Ricci’s Sound Design is careful not to overwhelm the production but blends in with the action to help tell the story and keep the action interesting.
Disney Press - Meghan Stanton, Eric Poch, Paul Diem, Mohammad R. Suaidi 1

(l-r) Meghan Stanton, Eric Poch, Paul Diem, Mohammad R. Suaidi. Credit: Britt Olsen-Ecker


Co-Directors Genevieve De Mahy and Matthew Shea have a good grasp of this material and seem to like the purpose of exposing the dark side of Disney and stripping away prestige of the name. The minimal staging is wise and the action is stellar. The fact that all characters, except for Walt Disney are handcuffed to the table as if being kept prisoner and forced to listen, is powerful and drives home the kind of person Walt Disney was in real life. Their casting is top notch and they convened a cast with great chemistry and talent to pull this material off. Overall, their vision and presentation are on point and they should be applauded for their efforts in bringing this challenging script to life.
Eric Poch takes on the role of Ron Miller, Disney’s son-in-law, who is a fan, or so it seems, and needs a job. Poch seems to really embody this character with a goofy smile and tone that fits the character nicely (a former pro football player). He plays the character as an oafish but lovable guy and makes a good showing working well with and off of his cast mates.
Disney Press - Meghan Stanton, Eric Poch, Paul Diem

(l-r) Meghan Stanton, Eric Poch, Paul Diem. Credit: Britt Olsen-Ecker


Mohammad R. Suaidi tackles the role of the level headed and loyal lesser known brother, Roy Disney. Suaidi seems to have a good grasp on this character and seems comfortable in the role. His chemistry with Paul Diem (Walt Disney) is terrific and they work well with each other. This character could easily be played as a doormat for the title character to walk over, but Suaidi finds a good balance of loyalty and standing his ground in this character that plays quite well.
Meghan Stanton as Daughter (assuming it’s Diane Disney, since Ron is her husband) is a definite highlight of this production. She doesn’t have much to say but every line she delivers is genuine and her confidence and presence is strong, which works well with this discontented character. Stanton emotes the conflicting emotions of this character such as her love and hatred for her less-than-saintly father and her worry for her children is clear making for an overall outstanding performance.
Disney Press - Paul Diem 3

Paul Diem as Walt Disney. Credit: Britt Olsen-Ecker


Paul Diem shines as he takes on the titular role of Walt Disney. From the moment he enters the lobby to direct the audience to the performance space, Diem embodies Disney head to toe, which is no small feat. Though the structure of this script is horrendous, he does a brilliant job with his delivery, not skipping a beat in the fast-paced jumble of words. Not only is his delivery good, he really seems to have a good understanding of the character and man his he portraying.
Final thought…  A Public Reading of an Unproduced Screenplay About The Death of Walt Disney at Single Carrot Theatre is an interesting take on the beloved Walt Disney and sheds light on a darker side of the man who brought the world so much happiness. I hesitantly write this, but… this was not my kind of show. Now, let me be clear that the performances were pretty much spot on and the ensemble presented the material superbly with focused and engaging staging, but the script is trite and garbled with all of the “cut to” and broken sentences making it difficult to understand (and utter agony for anyone with an English degree). I’m actually a fan of Lucas Hnath and thoroughly enjoyed another piece producer last year in Baltimore, The Christians, so I know he can write, but this one seems to be trying too hard. However, don’t take my word for it. Go see it and form your own opinion, it just might be your kind of show.
This is what I thought of Single Carrot Theatre’s production of A Public Reading of an Unproduced Screenplay About The Death of Walt Disney… What did you think? Please feel free to leave a comment!
A Public Reading of an Unproduced Screenplay About The Death of Walt Disney will play through February 25 at Single Carrot Theatre, 2600 North Howard Street, Baltimore, MD. For tickets, call the box office at 443-844-9253 or you can purchase them online.
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Press Release: Truth, power, and subversion take center stage in THE DEATH OF WALT DISNEY


FOR IMMEDIATE RELEASE:
Baltimore, MD – Single Carrot Theatre’s 11th season continues with A Public Reading of an Unproduced Screenplay About the Death of Walt Disney. From Lucas Hnath, writer of The Christians and the Tony-award-winning A Doll’s House Part 2, The Death of Walt Disney takes audiences deep inside the dark heart of the Disney machine. Far from the sanitized history presented by the Walt Disney Company, Hnath’s portrait of the megalomaniac behind the magic is a sharp and blackly comic look at one man’s quest for immortality. As the lines of fantasy and reality blur in this dramatic retelling, dramaturg Abigail Cady has worked closely with directors Genevieve de Mahy and Matthew Shea to navigate the murky waters of Walt Disney’s life.
“A dramaturg is responsible for helping the production artists maintain the integrity of the world of the play,” said Cady. “For this play, that is a very particular world.” Cady, de Mahy, and Shea met constantly throughout the process, sorting through truths and embellishments that permeate the many layers of Hnath’s script.
In today’s climate of ‘fake news’ and ‘alternative facts’ Hnath’s script feels especially relevant, though the heightened circumstances of the theatre feel “less subversive” in a world that is “more surreal every day.” Cady, well-versed in sorting fact and fiction, adds that “the essential truth of a story told in the theatre always has been and will continue to be an emotional, human truth.” ‘Truth’ is a subjective and slippery target in the theatre, as it is in history. Modern audiences must constantly examine the sources and storytellers who shape their understanding of the world. History, after all, is written by the victor.
The same can be said for the ‘history’ of the Walt Disney Company. “It was very difficult to find sources that did not skew towards positive or negative portrayals of the man,” Cady remarked, adding that “most official documents” are held by the Disney Company; accessing them is virtually impossible. “Biographies are either sanitized or dubiously sourced.”
Modern conversations about men, power, and controlling the flow of information feel especially prescient alongside Hnath’s script. For Cady, Walt Disney is a familiar figure; the ‘Great Man of Genius’ who has cast “a long shadow over our cultural consciousness since the country’s founding.” Be it Thomas Jefferson, George Washington, or Walt himself, “The Death of Walt Disney grapples with the question of how to reconcile a person’s contributions to the world with the damage they’ve done to it.” While Hnath may not have all the answers, audiences are given a window into the real, complex world of ‘Great Men’ like Walt Disney.
The Death of Walt Disney opens February 2, with performance continuing through February 25. The cast features ensemble members Paul Diem (Walt Disney) and Meghan Stanton (Daughter) alongside guest artists Eric Poch (Ron Miller) and Mohammad R. Suaidi (Roy Disney).
About the Play:
A Public Reading of an Unproduced Screenplay about
THE DEATH OF WALT DISNEY
By Lucas Hnath
Directed by Genevieve de Mahy & Matthew Shea
Leave the magic behind in this darkly humorous, cutting examination of the megalomaniac who shaped a thousand childhoods: Mr. Walt Disney. The carefree and charming creator of so many beloved characters – father-figure to a generation of Americans – fades away as this fraught and fast-paced play chases down the dark heart of the Disney machine. Power, betrayal, deception, and disillusionment weave together to form a portrait of a man so full of hubris and obsessed with his own legacy, he tried to remake the world and achieve immortality. Join us at the table. Regional premiere.
WHEN:
Pay-What-You-Can Previews: Wednesday, January 31 and Thursday, February 1 at 8pm
Running: February 2 – 25
Thursday- Saturday at 8pm
Sundays at 3pm
*There is no performance on Sunday, February 4.
WHERE:
Single Carrot Theatre
2600 N. Howard Street
Baltimore, MD 21218
Entrance on 26th Street.
Free parking available in adjacent lot and on the street.
TICKETS AND ADDITIONAL INFORMATION
Tickets: $10-$29
Web: singlecarrot.com
Phone: 443-844-9253
Email: boxoffice(at)singlecarrot.com
Twitter: @singlecarrot
Instagram: @singlecarrot