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THE THEATRE @ BOSTON COURT PRESENTS PLAY/ground: THE ANNUAL NEW PLAY FESTIVAL

November 11, 2010

From the release:

PASADENA, Calif., November 11, 2010 – The http://www.bostoncourt.com/announces PLAY/ground, the annual new play festival December 11-12, 2010 at Boston Court Performing Arts Center in Pasadena, CA. Literary Managers Aaron Henne and Brett Webster, in concert with Artistic Directors Jessica Kubzansky and Michael Michetti, have selected four plays to be presented as staged readings in the Marjorie Branson Performance Space.

The Theatre @ Boston Court’s play festival presents plays that are in keeping with Boston Court’s mission, which urges artists to fearlessly and passionately pursue their unique voice and vision. Play selection encompasses a wide variety of genres, with a special emphasis on nurturing playwrights and new play development, which are inherently theatrical, textually rich, and visually arresting.

Webster says “Following a season that featured 4 world premieres and garnered 17 Ovation nominations, we believe it’s more important than ever for The Theatre @ Boston Court to continue to be at the forefront of new play development in Southern California.  PLAY/ground is our opportunity to do just that.”

This year’s lineup includes“Creation” by Kathryn Walat, “Alleluia, The Road” by Luis Alfaro, “Underground” by Brian James Polak and “Sense of an Ending” by Ken Urban.

“Creation”  will be read Saturday, December 11 at 11am followed by “Alleluia, The Road”  at 3:00pm.

“Underground” will be read Sunday, December 12 at 11:00am followed by “Sense of an Ending”  at 2:00pm.

Kathryn Walat’s “Victoria Martin: Math Team Queen” premiered Off-Broadway at the Women’s Project, and has appeared in Dramatics magazine and New Playwrights: The Best Plays of 2007. Other plays include “Bleeding Kansas” (Hangar Theatre), awarded a Francesca Primus Citation; “Know Dog” (Salvage Vanguard); and “Johnny Hong Kong” (Perishable Theatre). Her work has been commissioned and produced by La Jolla Playhouse and Actors Theatre of Louisville, and developed at such places as The Public Theater, Manhattan Theatre Club, Playwrights Horizons, MCC, McCarter Theatre, Ars Nova, Sundance Theatre Lab, Voice & Visions, Electric Pear, and Bay Area Playwrights Festival. Her latest play “Creation” was developed at the National Playwrights Conference at the Eugene O’Neill Theatre Center this past summer. She is co-librettist (with composer Gregory Spears) of the opera “Paul’s Case,” and is working on a commission for the Germ Project at New Georges, where she is also an affiliated playwright. Ms. Walat received her BA from Brown University and her MFA from the Yale School of Drama.

Luis Alfaro is a Chicano writer/performer known for his work in poetry, theatre, short stories, performance and journalism.  Luis is the recipient of a John D. and Catherine T. MacArthur Foundation fellowship, popularly known as a “genius grant,” awarded to people who have demonstrated expertise and exceptional creativity in their respective fields.  He is also a producer/director who spent ten years at the Mark Taper Forum as Associate Producer, Director of New Play Development and co-director of the Latino Theatre Initiative.  His plays and performances include “Oedipus el Rey” (The Theatre @ Boston Court, Magic Theater, Wooly Mammoth), “Electricidad” (Teatro Vision-San Jose, Mark Taper Forum-Los Angeles, Goodman Theatre-Chicago, Borderlands Theatre-Tucson), “Downtown” (Institute of Contemporary Art-London, XTeresa Performance Space-Mexico City), “No Holds Barrio” (Goodman Theatre-Chicago), “Body of Faith” (Cornerstone Theater Company-Los Angeles), “Bitter Homes and Gardens” (Latino Chicago, Playwrights Arena-Los Angeles), “Ladybird” (La Jolla Playhouse.)  Luis is the only artist to have won two awards in the same year from The Kennedy Center’s Fund for New American Plays. He is also the recipient of awards from the National Endowment of the Arts, Theatre Communications Group and PEN USA, among others.  He is featured in over 25 anthologies, has an award-winning spoken word CD, and was nominated for a local Emmy for his short film, Chicanismo. He is a member of New Dramatists, an associate artist at Playwrights Arena and Cornerstone Theatre Company in Los Angeles.

Brian James Polak is a Los Angeles playwright.  His plays include “Reverse Evolution” (At Hand Theatre), “PS Page Me Later” (co-writer, Alarm Clock Theatre, Eliot Norton Award) and “Underground” (developed through The Blank Theatre, needtheater and Emerging Artists Theatre, NYC).  Publications include “Story of the Faceless Man” (The Commonplace Book of the Weird), “Reverse Evolution” (Smith & Kraus) and “Painkillers” (ATHE New Play Anthology 2007-2009.)  He has been a Visiting Playwright with the Kennedy Center and the ATHE New Play Development Conference.  Brian is a board member for needtheater, a volunteer mentor with Young Storytellers Foundation and the Marketing and Development Associate for Boston Court Performing Arts Center.

Ken Urban’s plays have been produced and developed at Summer Play Festival @ The Public, The Flea, The Chocolate Factory (NYC), Wlliamstown Theatre Festival, Playwrights Horizons, New York Theatre Workshop, The Lark, The Huntington, Moving Arts, The Theatre @ Boston Court, Irish Rep, Theatre of NOTE, and Soho Rep. He is the winner of the 2008 Weissberger Playwriting Award, the 2007-8 Huntington Playwriting Fellowship, the 2010-11 Dramatist Guild Fellowship, the 2009 Writers’ Room of Boston Emerging Writers Fellowship, two MacDowell Colony Fellowships (2008, 2009) and a 2006 Tennessee Williams Fellowship. His plays are featured in the anthologies Plays and Playwrights 2002 and New York Theatre Review as well as numerous monologue collections. Ken founded The Committee, a New York-based theatre company that produces “catastrophic theatre.” He is currently working on two new plays (“The Awake” and “The Correspondent”), a morally irresponsible adaptation of Aristophanes’s “The Wasps”, and a screenplay adaptation of his play “The Happy Sad.” Ken has also written extensively on British and American theatre. He is currently writing an introduction to a new edition of Sarah Kane’s “Blasted” and an entry on Kane for the forthcoming Methuen Guide to Contemporary British Playwrights. Ken teaches at Harvard University.

The free readings are open to the public and reservations can be made by calling (626) 683-6883.

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