Season 15: Broken Bonds

Mobtown is proud to announce its 15th Season! This year, Broken Bonds – four plays that explore the intimate connections between people – husbands and wives, mothers and children, best friends, siblings – and the almost inevitable betrayal of those bonds. We kick off the season with the Greeks – Euripides’ Electra; and then go back to our Shakespearean roots with Othello. We wouldn’t be Mobtown, though, if we didn’t showcase a new play – an original piece by the head of the MPG, Brent Englar: The Apple Don’t Fall. And then we wrap up the season sort of the way we started it – dipping back to the Greeks for the source material for Medea, but crafting it into a modern, collaborative piece.

Upcoming!

Medea, directed by Melissa O’Brien (June 7 – 29, 2013): A new picture of “one of Aphrodite’s most destructive victims.” Euripides’ classic tale of betrayal, infidelity, and murder gets a makeover: old Hollywood style. A superstar struggles with the choice between embracing a new role as a revolutionary symbol or being cast into obscurity. A voracious, media-hungry, society sets the stage for a surreal re-imagining of the classic Greek play. Featuring original music, dynamic physical work, and heightened imagery, Medea exposes the dark reality of how we create idols.

And of course, the Mobtown Playwrights Group is back for another three readings and a summer production!

Completed

Electra, by Euripides, directed by Lizzie Jump (September 7 through 29, 2012): Virgin sacrifice…Infidelity…Murder…and that’s just the prologue.

Othello, by William Shakespeare, directed by Marshall B Garrett (October 26 through November 17, 2012): Shakespeare’s thriller of jealousy is streamlined to the essence of its tale of passion and love: a man for his wife, a soldier for his captain, and men for themselves.

The Apple Don’t Fall, written and directed by Brent Englar (March 1 through 23, 2013): Six months ago, Dan’s entire known family died tragically in a tornado accident in Appalachia. So when Glenne shows up claiming to be his long-lost half-sister, Dan fears she wants nothing more than a piece of his inheritance. Besides, Dan already has plans for the money: to create — with a visionary director named Leon and his silent troupe of “enactors” — a new form of theatre consisting wholly of gesture.