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Mrs. Hawking is returning to Arisia this January!

I am delighted to announce that Team Hawking is undertaking preparations to begin putting together our next round of production for Arisia 2018! We will be continuing our tradition of performing the two most recent installments, the part we debuted the previous year as a lead-in to a brand-new story, in order to make hook audiences into the flow of the series. So we are proud to present Mrs. Hawking 3: Base Instruments along with Mrs. Hawking 4: Gilded Cages, in its very first public peformance!

Soon we'll announcing the cast, featuring an array of both familiar faces returning to their roles as well as new stars bringing their talent to the table. And we'll make sure to keep you up to date on scheduling, development, and process as it unfolds. Until then, I hope to leave you all in anticipation of the next direction the Hawking story is about to explore!

And make sure to join us at Arisia 2018! this January the weekend of the 12th-15th at the Westin Boston Waterfront!
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You may recall that this summer I am for the first time participating in a show with the Post-Meridian Radio Players, a group I have long admired but never had the chance to work with before. This summer I am directing an audio drama version of Edgar Allan Poe's "The Murders in the Rue Morgue," which I helped PMRP artist-in-residence Jeremy Holstein to adapt, and which has the distinction of being history's first detective story. Our version also has the leads gender-swapped, so our detective is a female version of Dupin, as well as the narrator in the form of Dupin's companion Edelle.

It's exciting to work in this different form-- never directed a complete audio drama before --and it's lovely to have a much lower-key theatrical project than I've usually been occupied with of late. I'm also working with some great actors, some great people in the Mrs. Hawking cast as well as a bunch of lovely new people.

So I'd like to invite you all to the performance! Here is the link to the Facebook event. There's a link to buy tickets on the page, or they can be bought in the door. My show will start first at Responsible Grace church in Somerville, to be followed by Jeremy Holstein's excellent adaptation of the Sherlock Holmes story "A Scandal in Bohemia," which features the only appearance of the beloved character Irene Adler.

Hope to see you there!
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This past weekend I got a chance to see the production of Mrs. Packard by Emily Mann with the Bridge Repertory Theatre. I wanted to go because Eric Cheung was in it and I enjoy watching him act, but it was also a play that was relevant to my interests-- it took place in the 1850's and was about a woman who'd been unfairly committed to a mental institution because of her outspoken views that challenged those of her husband. Obviously I'm very interested in the feminist issues of that time period, so I was excited to see what it was about and how they would do it.

Overall I enjoyed the production very much. It took place in this gorgeous open-room theater at the Multicultural Arts Center in Cambridge, with elaborate crenellated architecture and a beautiful balcony ringing around the top of it. The set and costumes were lovely, in low-key grays and blues, and the space was shaped by large curtains that they pushed in and out to make frames. It was clearly a very professional production, with high acting quality, direction, and production value all around, though not all of the actors were exactly to my taste. The woman playing Mrs. Packard, while clearly talented, didn't appeal to me. She was very broad and without a lot of emotional levels-- she was kind of at eleven for the entire performance with little variation. I also noticed that Mr. Packard was played by the guy who read for Lord Brockton at the very first ever reading of Mrs. Hawking part one that happened at my grad school and was organized by my teachers. As for the script, overall I enjoyed the story, though I would say it was a bit heavy handed with its ideas, full of people talking alternately how absurd and how important it was for women to be able to speak their minds, depending on which side of the argument they represented.

It also spurred a lot of thoughts about how I wanted to incorporate mental health abuses as an issue in the Mrs. Hawking plays. The idea that a woman can be committed for behaving what the men in her life believe is "strange" or "inappropriate" is definitely a good source of threat for those stories. Honestly it's probably something Mrs. Hawking has specifically been concerned about that causes her to so carefully hide her activities. I actually already have an idea for utilizing it, though not until parts five and six. Those are a way off, but in watching Mrs. Packard it got me thinking about how I want to execute on those concepts. I am not going in the same direction as Mrs. Packard takes, but I hope it make it meaningful and really invoke the horror that a woman could be committed against her will, not because she's mad, but because she doesn't obey or conform.
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MJ Rodriguez as Luna, from Instagram @MJRodriguez7

Thanks to a ticket generously offered to me by [ profile] niobien, I saw "Trans Scripts, Part I: The Women" at the Loeb Drama Center in Cambridge this week. It was described to me as kind of like the Vagina Monologues, in that it was a series of personal narratives of real people that were turned into dramatic pieces, but in this case from transwomen. I wasn't sure what to expect, but I found it to be a really excellent show, where you literally laugh and cry.

The thing I thought made it so strong was it dealt with a wide diversity of transwomen. They really did demonstrate how personal and individual a gender journey is, even within those who are ultimately exploring the same identity. Some were butch, some were femme; gay, straight; young, old. Some knew that they were women their whole lives, some came to it as a later step of their personal evolution. Some had no problem with sex work, some strongly disapproved. Some cared about the physical reality of their bodies, some felt their truth transcended it. Some wanted to be out and proud as trans, some just wanted to be able to walk down the street without anybody noticing anything about them. These various aspects in various combinations gave each character her own specificity, which conveyed an incredible humanity. That was the best part of it to me-- that everything was so human.

You may be inclined to think that was just because it was drawn from actual people, not made-up characters. But I think it was because the piece seemed to be put together in the interest of telling the stories of THESE WOMEN IN PARTICULAR-- not representing TRANSNESS AS A CONCEPT TO ITS COMPLETE DIGNITY TO THE WORLD. If you know what I mean. There did not seem to be a lot of concern of "Are we taking all the precautions to be as correct as possible for educating the people?" A lot of trans narrative I've read, including personal ones, are very concerned with this, sometimes to the detriment of the story because it turns it into kind of a dry, technical lecture.

Now I totally understand why people end up doing that-- transness is so widely vilified and misunderstood, there is definitely a need to prevent misperceptions, stereotyping, and anything else that could damage the ability of actual trans people to live their lives. But I kind of appreciated that the ladies were not trying to give me a gender studies lesson, but rather to just talk about themselves, their journeys, their feelings, their lives as trans people. The transness informs every part of it, like, trans life in practice rather than just in theory.

Honestly, there were probably a lot individual positions represented that some people would find problematic. Many of them used controversial terms to describe themselves. One woman's first step on her gender journey was becoming a really accomplished drag queen. Another resented the idea of other transwomen who weren't willing to commit to genital surgery. But I kind of liked that the piece didn't judge any of them for it. Not because I necessarily thought all of their positions deserved to be beyond critique, but because their imperfections and vagaries made them that much more human. These were NOT object lessons on gender theory-- these were the stories of real people's real lives.

There also wasn't a huge emphasis on negativity. They DID talk about some of the dangers trans people faced-- they mentioned the murder rate of transwomen of color, for example, but not much other violence, like sexual assault, for example. I wonder if they should have talked about more. But on the other hand, it reminds me a bit of how there are no lesbian date movies because lesbians in film always die, so it's nice to be able to give a lot of time to happy stories of marginalized people. And they did talk about struggle, in a lot of very personal and individual ways.

I believe five out of the seven actors were actual transwomen, while the remaining two were played by men. That kind of surprised me. I wonder if any of the actresses had a problem with that, though from perusing their social media and stuff they all seem to be very proud of the project, and there were also transwomen involved in other aspects of production. In theory, I believe it's basically an actor's job to pretend to be something they're not, but with so few roles for trans actresses, I sincerely hope it was because they just couldn't find enough of them to fill all the roles. For the record, all the actors were great.

Overall, I highly recommend it, and I'd even be open to seeing it again, in case anyone would like me to go with them.

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New post on!

"Performances at Arisia 2017 accomplished!"

At Arisia 2017 this past weekend, Mrs. Hawking brought its two most recent shows, part 2: Vivat Regina, and the world premiere of part 3: Base Instruments. And I am so delighted to report that the performances went great.

Read the rest of the entry on!
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We are officially on the schedule at Arisia 2017!


By Phoebe Roberts

Friday, January 13th at 7:30PM


Saturday, January 14th at 4PM
Sunday, January 15th at 12PM

In Grand Ballroom B

At the Westin Boston Waterfront
425 Summer Street, Boston, MA 02210

Please come join as at Arisia 2017 this January and come see our shows, including the debut performance of Base Instruments!

Vivat Regina and Base Instruments by Phoebe Roberts will be performed January 13th-15th at the Boston Westin Waterfront Hotel as part of Arisia 2017.
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I directed a ten-minute play for the Chameleon's Dish Shorts Festival this weekend! Come see us at the Democracy Center this Friday and Saturday night!

Losing & Finding. The intense loss of someone precious, from the struggle of finding one's place in the world, or the every-day frantic rush of misplacing your keys. The wash of relief and comfort in finding, from the rediscovery of a forgotten childhood toy, to the reunion with a loved one you thought was gone forever. This fall, the Chameleon's Dish Theatre travels these emotional hills and valleys through a series of new ten-minute plays.

Running the gamut from situational comedy to surrealistic horror, Chameleon's Dish is excited to present to you:

Peggy's Properties by MJ Halberstadt directed by Phoebe Roberts

Choice by Aimee Caya directed by Lenny Somervell

Hop To It by Erin Beausoleil directed by Lenny Somervell

I Just Love That Kieth Urban by Shari Frost directed by Kyle Gregory

The House by Jenna Schlags directed by Lucas Commons-Miller

Produced by Phoebe Roberts, Lenny Somervell, and Jaryn Wilcox

Running two nights only:
8pm Friday, September 23rd
8pm Saturday, September 24th
At the Democracy Center at 45 Auburn Street, Cambridge, MA

Doors open at 7:45. Suggested admission is $7 but we welcome all comers. Donations also gratefully accepted.
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New post on!


"Building a prop Victorian gramophone"

People who have experience in the field of properties for the stage may be familiar with a dilemma I’ve run into in producing the Mrs. Hawking plays. Sometimes, your script will call for a specific prop that expensive or difficult to acquire that is needed for only a scene or two, but is integral enough to the plot that it can’t be changed or cut. That means you’re stuck investing in getting or making the damn thing, even though it’s going to be a lot of effort for not a ton of use.

For Base Instruments, we’ve talked about the challenges of one specific setting. But the showpiece prop in that one will be the gramophone.

Read the rest of the entry on!
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New blog entry on!

"Challenges of staging Base Instruments

This fall we’re going to be going into rehearsals for Base Instruments, the third installment of the Hawking series. I’m extremely excited. Not only is Base Instruments the first true mystery of the series, in my opinion, each installment is better than the last, and so this most recent one is the best story yet. I can’t wait to bring that our audiences at Arisia 2017 next winter. But in moving on to this show, we’re definitely inviting new challenges in the staging process!


Read the rest of the entry on!
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It's that time of year that I think making a list of all my projects, in the order in which they are should be prioritized, would be a solid idea. Plus I like to let people know all the cool stuff I'm working on. They are organized by which month's ending I need to have them done:


Editing the Mrs. Hawking pilot. In a very good meeting with my producer contact, she gave us some solid critiques for the next version. They actually were easier to incorporate than we feared they'd be. We're aiming to have the next version done by the end of the month to send back to her. It's almost done, it just needs one more pass or so to make sure all the changes are smoothly incorporated.

Treatment for Vivat Regina. This is basically a special kind of summary for how this story would work as an episode. This will get sent in along with the edited pilot and be appended to the Mrs. Hawking show bible.

Treatment for Base Instruments. Basically the same deal; write it up as if it were an episode of the series.


Finishing the Hood pilot. This is the new piece we're going to send along. Currently it's about half-drafted, and we're shooting to have it finished to get feedback from a reading dinner early next month. This is the biggest project in the package, so we may get the first three completed and sent before we're done with this, so we don't keep her waiting too long.

Finalizing my Freshman Comp syllabus. This is basically done. I just need to add in the page numbers from the new version of the textbook, which I'll be receiving later this week.

Finalizing my Essentials of English syllabus. Also basically done, requiring only the addition of page numbers.

Finalizing my Business Writing syllabus. This one needs more work, as I've never taught business writing before and am new to designing a class for it. I'm trying to chip away at it a little at a time, but it needs to be done by the end of August.


Put together Peggy's Properties. This is the ten-minute play I am directing for the Shorts Festival Chameleon's Dish Theatre is holding at the Democracy Center on September 23rd and 24th.

Finalized Base Instruments script for performance. We will begin rehearsals in late October, but I'd like to have the script all edited and ready in advance. I know some the actors would appreciate the advance look.

Blocking Base Instruments. Again, we start rehearsing in October, but it's important for me to be as prepared as possible going into the process. The more I can get done in advance, the less I have to worry about while I'm also teaching three classes and getting all the other aspects of production in order.
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New blog post on!

"The Team Hawking promise"


As anyone who does theater knows, the process is a serious undertaking, with a significant investment of time and resources asked of anyone who chooses to be involved. With all the things that can go wrong and the wildcard personalities it can involve, it can be tough to find a production that you can trust to work responsibly AND be fun to take part in.

But know that if you’re considering being part of a Mrs. Hawking play, we’re dedicated to making sure we conduct ourselves in a manner we can be proud of. So if you’re on the team, you can expect a level of competence and respect for your abilities and contributions in order to thank you for lending them.

Here is the Team Hawking promise.

Read the rest of the entry on!
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In my hero's boast, I laid out everything that I have to do from now until the end of the year.

This past weekend, I completed probably the most personally significant part of my boast. The theatrical performances at Arisia 2016 were the culmination of my producing part one and part two of the Mrs. Hawking series, TWO SHOWS, SIMULTANEOUSLY.


It was an enormous amount of work. The biggest theatrical challenge I have taken on to date. But it went great. I was so proud. We got a wonderful audience of hundreds of people and all responses were very positive. We did good.

I may even have made some of connections and momentum I need in order to move forward. We'll have to see how that goes, but I have hope. And hope will push me onward.

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We have been scheduled for times and locations for our upcoming performances at Arisia 2016!


Mrs. Hawking
by Phoebe Roberts
8PM on Friday, January 15th
Grand Ballroom B

4PM on Saturday, January 16th
Grand Ballroom A

Vivat Regina
by Phoebe Roberts
1PM on Sunday, January 17th
Grand Ballroom B

At the Westin Waterfront Boston
425 Summer St, Boston, MA

Go here to sign up to attend Arisia 2016! Be sure to join us for the continuing story of the lady’s champion of London!

Mrs. Hawking by Phoebe Roberts will be performed January 15th at 8PM and January 16th at 4PM and Vivat Regina by Phoebe Roberts January 17th at 1PM at the Westin Waterfront Hotel as part of Arisia 2016.
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We are officially announcing it! The first two shows in our series, MRS. HAWKING and VIVAT REGINA, will be performed in the course of events at Arisia 2016!


Mrs. Hawking is returning to the event where she saw her performance debut, but this time, she's going even further. This marks the beginning of an exciting experiment in actually producing serialized theater. One rarely sees live performances that build upon what happened in the course of a previous story. But the Mrs. Hawking series, with its ongoing plot and characters, is breaking down that barrier.

We will be putting together and rehearsing the two shows in tandem with each other, creating a consistent through line of narrative and character development for the audience to enjoy. We have assembled two excellent casts, with some new and some returning actors, to populate the world, including the recurrence of our three leads, Mrs. Hawking, Mary, and Nathaniel. This will afford the audience the rare chance to see live storytelling with greater scope of character development than just a single plot can allow.

It’s going to present some new and interesting challenges, and will involve some figuring things out as we go. But the chance to show a continuing theatrical story, where characters grow, develop, and change based on events that happen before the audience’s very eyes, is too exciting to pass up.

Come join us for this unprecedented event in live storytelling, and see where our heroes journey will take them on the next step!

Mrs. Hawking and Vivat Regina by Phoebe Roberts will be performed January 15th-18th at the Westin Waterfront Hotel as part of Arisia 2016.
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Apologies for the late notice, but circumstances can't be helped...

The Chameleon's Dish Theatre will be auditioning for the upcoming performances of the Mrs. Hawking plays, an experiment in serial theater-- a steampunk series of asking what if Sherlock Holmes were more like a lady Batman?

Mrs. Hawking debuted to success with two productions over the course of 2015, and will have an encore performances of plays in the series as part of Arisia, a major science fiction and fantasy convention in downton Boston in January 2016. This is a continuing series, so there is opportunity for reprising the role at a later date in an additional run, though no commitment is required beyond this January 2016 production.

There will also a small monetary honorarium paid to selected actors upon completion of the show's run.

Some of the previous cast is returning but the rest will be replaced. We are looking for the following types for lead and supporting roles:

Women, late twenties to late forties, German accent.
Women, late twenties to early thirties, English accent.
Men, late twenties to early thirties, English accent.
Men, late twenties to early thirties, Cockney accent.
Men, late thirties to late forties, English accent.
Nonspeaking ensemble roles of any gender and age.

Weekend of January 15th-17th
At the Westin Waterfront Boston hotel in downtown Boston, MA

Rehearsals begin halfway into October leading up to the performance dates in January, depending on the play or plays in which you are cast. There will be time off for Thanksgiving, Christmas, and New Years. Rehearsals will happen mostly in the Porter Square area of Cambridge, with some in the Brandeis/downtown Waltham area.

Auditions will be held on three separate dates at different locations:

Monday, October 5th form 7-9PM
At the Watertown Public Library in the Raya Sterns Trustees room
123 Main Street, Watertown, Massachusetts 02472

Thursday, October 8th from 7-10PM
At the Democracy Center in the Cesar Chavez room
45 Mt Auburn St, Cambridge, MA 02138

Friday, October 9th from 7-10PM
At Lesley University, Doble Campus in Doble 209
29 Everett St, Cambridge, MA 02138

Auditions will consist of reading from sides from the script. English and/or German accents required.

Please make an appointment. Walk-ins are welcome, but to guarantee your slot please send an email to with your headshot and resume to reserve a time.

If you would like to audition but are unable to make these appointed times, please e-mail anyway and arrange alternate accomodations.
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I don't know I ever articulated these, but as we're about at the halfway point of the summer, I thought I'd look over my current set of goals for the season and see how I'm doing on them.

1. Draft a complete version 1 of Base Instruments

This is going really well! After making a mostly complete, and very thorough, outline, I have plunged into the actual writing, and I've gotten at least one piece of a scene drafted every day since I started. I'd estimate the draft is around fifty percent complete. It's not very good yet-- I'm shooting for completion, with plans to polish it later --but it's coming into existence where it wasn't before! I want to have at least a rough version 1 finished by the end of the summer.

2. Maximize ab development

My diet and exercise plan is turning out great. I'm trying to get my abs as defined as they possibly can be, and I've made the best progress of my life. I'm stronger than I've ever been too-- I pushed myself all-out on my run yesterday, and I actually ran a mile in 5:45! Fastest time for me ever! I look great, I feel great, and I do great. I'm also finally at the point where I think my body has adjusted to eating like this, so I'm not even constantly hungry anymore.

3. Do 31 Plays in 31 Days 2015

I have been really happy doing this in the past, so I think I'd like to participate again this August. I may change the terms for myself, however. Not exactly sure how, but I think I'd like to tailor it to a specific project I'm working on rather than just generating material for material's sake. Maybe that will be working on Base Instruments, if it's not finished by then, maybe it'll be for something else. But I like the productivity the structure has given me in the past.

4. Get together my bid for Mrs. Hawking and Vivat Regina at Arisia 2016

I have some informal approval already, but I'd like to get things official set down, so I know what to plan for. I'm both excited and daunted at the prospect of putting together SERIAL THEATER, WHICH IS BASICALLY UNHEARD OF, but I think that newness and daring will make it more exciting. So I'd like to get my proposal together and sent out before the end of the summer. Best to settle things as early as possible, to maximize preparation time!
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"Phoebe talks Mrs. Hawking for New England New Play Alliance"


I was lucky enough to give an interview about Mrs. Hawking for the New England New Play Alliance!

Read the rest of the entry on!

Mrs. Hawking by Phoebe Roberts will be performed on Saturday, May 9th at 2PM and 6PM at the Center for Digital Arts at 274 Moody Street, Waltham as part of the 2015 Watch City Steampunk Festival.
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Well, Festival of the Larps is now over, so that's one more thing off my plate. Still, lately I've been running from one thing to the next in the last couple of weeks, and I'm starting to get burnt. Mrs. Hawking has less than two weeks to go before we go up, and while things are coming along very well, there's still a lot of work and time left to be put in. On top of that and my day job, I've been working some part-time jobs to make a little extra cash. I'm costuming a production of Urinetown for Dana Hall, and I picked up a few modeling gigs. I'm getting increasingly tired of modeling-- too many people treating you like a piece of furniture --but the money's good, and for the first time in a while, my finances are mostly back in order. We'll see how long that lasts! But it has the downside of meaning I'm pretty tightly scheduled, with lots of traveling in between things. That's the quickest way to wear me down, and I'm starting to feel it.

My focus right now is finishing Mrs. Hawking, and getting the word out about it as much as possible. Feel no obligation to attend again if you have already, but if you're interested or if you haven't seen it, it's totally free in Waltham, Saturday May 9th at 2pm and 6pm at the Center for Digital Arts on Moody Street. It's probably not good for me to focus on anything past that right now. But I find myself wanting to shift gears a little once I finish that.

I want to get back to writing, and to specifically pushing my writing. I want to work on Base Instruments and the sequels to Adonis. I find myself so inspired on them lately-- almost certainly a case of productive procrastination, but still --that I want to be able to devote real time to them. I also want to work on pitches. I think there may be some opportunities to get these things out there, and to do that, I need to work on what I would say to sell them to interested parties. That is starting to feel increasingly important.
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Last night I saw Alex Davis's original play, The Contractual Death of Jonathan G. Faustus, a reinterpretation of Christopher Marlowe's play. I was quite excited for it. The Marlowe play actually has a lot of significance in my life, due to my lifelong and typically Catholic fascination with hell. Plus the title character was Jared's first role in theater, which I encouraged him to try out for. More the fool I, as it gave him something to get a big head from and act like a dick over.

Alex's reimagining is very good. That kid is one of the best young actors I've seen, so I'm especially impressed that he can write too. I've been itching for years to direct him, so because I enjoy him and want to support him, I will see anything he's involved with. It was smart, thoughtful, well-researched, sophisticated in places, with a wit and humor that was very Alex. I could strongly hear his voice in it.

The lead playing Faustus did very well, even if he could stand to vary up the cadence of his delivery a little. I've seen him before, he has talent and great comic timing. It was pretty weird how much he made me think of Jared, though it didn't diminish my enjoyment. He even sat at the same desk Jared sat at when he played Cassander in To Think of Nothing.

And then the other guy playing Mephistopheles was even more fun. He was portrayed as a sardonic, witty, embittered, tall hot goth kid. I was surprised at how much that worked for me. These days my type is much more big, masculine guys with movie star good looks. I'd rather thought I'd outgrown the fascination with skinny painted goth boys in too much hair gel. But...

...apparently not.

He reminded me powerfully of Alain, at least aesthetically, whom if nothing else, had the pretty going on. This guy was even a bit broader and more substantial without losing that long lean line. Nothing wrong with that. But with that combination, It created the rather strange viewing experience for me of watching my two college exes snipe at each other for an hour and a half.

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So last Sunday I saw Annabel Lost, the poetry-drama piece by Frances Kimpel that has been Chameleon's Dish Theater's most recent production. It's a fascinating piece, exploring themes of self-worth, connection, and mortality and immortality, all strung together by astonishing pieces of poetry. It's incredibly unique-- I've literally never seen a piece of theater like it --and provokes a lot of thought. Frances's work is challenging, beautiful, and not quite like anyone else's. I'm still picking apart what I got from it, so I'd like to see it again and keep thinking about it.

The next performance is this Friday night at 8PM at the Democracy Center in Cambridge. Would anyone like to come with me? I'd love to meet up with someone or many someones for dinner nearby, then meander our way over there to see the show. Please message me if you're interested in making a plan. It'd be nice to have a little friendly company before an evening of theater.


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