We are producing THE KILLING JAR, a new play by Jennifer Lynne Roberts that explores expatriate artists in the Philippines in 1962 during the cusp of great political upheaval.
In January of 2017 Spare Stage undertook development of Jennifer Lynne Roberts' new play THE KILLING JAR. We have held readings and workshops, had outings to art galleries, and more to help Jennifer fine tune this incredible play and get it ready for production. We need your help to fund a production. The reality is that ticket sales will only cover about 30-40% of the budget and we need at least half of the budget available before we ever sell a ticket.
As we refresh our programming after a hiatus (or two), Spare Stage operates on an annual budget so small that we simply don't qualify for most small grants out there. So we're coming to you for help.
1962. It’s the cusp of the feminist art movement, the midst of the Cold War and a new Philippines Independence Day. Against this complicated backdrop is the story of the emergence of a young, female artist. Ava Bartim, an American painter and curator, arrives in the Philippines on the hottest day of the year to convince the American expatriate artist, Jefford Huso, to exhibit at the 1964 New York World’s Fair. As an admirer of his work, she is also hoping for an apprenticeship during her time at his studio outside Manila. Ava struggles to understand herself as an artist and a woman while trying to negotiate her place in the world. She soon discovers that her desire for a mentor and Jefford’s addiction to alcohol and women, jeopardize the show and Ava’s career, which hinges on this rare opportunity in a male dominated field.
Artistic Director Laylah Muran de Assereto says this about why she chose the play: “I have been drawn to this play because the language is poetic and powerful, the characters are all fully developed with complex, compelling relationships to each other and their inner lives and motivations. The playwright is taking the angst-ridden male-artist story and turning it on its head with a young female artist as the protagonist, a young Filipina scientist as her counterpart, and a deeply conflicted and layered recluse as their foil - or is he their mirror? The backdrop of expatriate artists in a country on the verge of conflict is intriguing and adds dimensions to the play that I believe audiences will find to be relevant today.”
Venue - we will be renting a 50-60 seat theatre space for a four weekend run, in addition to the rehearsal space rentals for the four to five weeks prior
People - we pay stipends to all of our actors, designers, the playwright, technicians, and stagehands
Artists! - it's a play about art, we are commissioning artwork for this production which will be integral to the plot as well as aesthetic vision for the play
Set, props, costumes - yes, we are Spare Stage, but we sparingly use elements to evoke the place and time, and we are very excited about what we will be doing to bring you to an artist's studio in 1962 Philippines.
Spare Stage produces plays that provide a dynamic balance between actor, director, and playwright. We favor eloquent language and elegant simplicity in staging. We nurture creative ensemble, and invite you to join us in exploring complex ideas on a Spare Stage.
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