CCCT is pleased to announce the return of its popular Reading Stage, this time as a Zoom series for you to enjoy in the comfort of your own home.
Begun in 2015, Reading Stage offers an opportunity for audiences to focus on hearing some of the most thrilling works in contemporary theatre. Each new theatrical project begins at some point with a “table read” as the actors and creative team get together and read the script which forms the basis for the work they’ll do to bring a text to life. Reading Stage brings some of the best actors and riveting scripts together to create an unforgettable evening of theatre.
Reading Stage is underwritten, in part, through the generous contributions of Marcia and Joe Grossman, Gary Langbehn and Jerry Power, and Debbie Chinn.
by Jen Silverman
Monday, July 20, 7 pm
Featuring Kimberly Ridgeway and Pamela Kingsley
Directed by Marilyn Langbehn
Tickets: Free (suggested donation $10)
ABOUT THE PLAY
Recently divorced and living in an old house in Iowa, Sharon (Kimberly Ridgeway) finds a sensible roommate like herself to make ends meet. But she quickly learns that Robyn (Pam Kingsley) is a fugitive of sorts, who couldn’t be further from the ladies in her book club. As both women become close, each recognizes in the other an overwhelming desire to transform her own life. But the only question is: what will be the price of that transformation. A dark comedy about what it takes to re-route your life—and what happens when the wheels come off.
ABOUT THE ACTORS
Kimberly Ridgeway has been working professionally as an Actor, Director, Playwright and Producer in film and theater for over 20 years. Kimberly wrote, produced and directed the stage No More Secrets, Prospect Place, and The Gigolo Chronicles, and the short film “The Confession”. Kimberly directed projects for Bay Area Drama Company, Dragon Productions Theatre Company, Ubuntu Theatre Project, Bay Area Performing Arts Collective, Playwrights Center of San Francisco, and TheatreFirst. Some notable acting roles include Mrs. Muller, Doubt; Bernice, The Piano Lesson; Coretta Scott King/Fannie Lou Hamer, All the Way; Duchess, Wonderland (World Premiere); Biz, The Human Ounce (World Premiere); and Camae in The Mountaintop, for which she won the 2016 BroadwayWorld San Francisco Award for Best Leading Actress in a Play (Local).
Pamela Kingsley has worked for theatre companies from New York to Indianapolis to Seattle and Spokane. A few acting credits include: Buried Child (Halie), The Long Christmas Ride Home (Mother/Narrator), Moon Over Buffalo (Ethel), Steel Magnolias (Clairee), Death of a Salesman (Linda), Sister Mary Ignatius Explains It All to You (Sr. Mary), and House of Blue Leaves (Bananas). Recent directing credits: Freud’s Last Session; Constellations; Love, Loss, and What I Wore; The Sunshine Boys; and Deathtrap. Pam is also a playwright with work produced by theatres in Kansas City, Cleveland, Richmond, Santa Fe, and Spokane. Her play, Mother’s Day, was a finalist for the James Stevenson Prize for Short Comedic Plays. Pam has a BFA in Theatre Performance and an MA in Theatre Education.
ABOUT THE PLAYWRIGHT
Jen Silverman is a New York-based writer. Born in the U.S., she was raised across the U.S., Europe and Asia. Her theatre work includes THE MOORS (Yale Repertory Theatre premiere, off-Broadway with The Playwrights Realm, Susan Smith Blackburn finalist); THE ROOMMATE (Actor’s Theatre of Louisville Humana world premiere, multiple regional productions including South Coast Rep, SF Playhouse and Williamstown Theatre Festival, upcoming at Steppenwolf); PHOEBE IN WINTER (Off-off Broadway with Clubbed Thumb); COLLECTIVE RAGE: A PLAY IN 5 BETTIES (Woolly Mammoth premiere); and ALL THE ROADS HOME, a play with songs (Cincinnati Playhouse in the Park premiere). Jen is a member of New Dramatists, a Core Writer at the Playwrights Center in Minneapolis, an affiliated artist with SPACE on Ryder Farm, and has developed work with the O’Neill, New York Theatre Workshop, Playpenn, Portland Center Stage, The Ground Floor Residency at Berkeley Rep, and the Royal Court in London among other places. She’s a two-time MacDowell fellow, recipient of a New York Foundation for the Arts grant, the Helen Merrill Award, an LMCC Fellowship, and the Yale Drama Series Award. She was the 2016-2017 Playwrights of New York (PoNY) Fellow at the Lark. Jen has a two-book deal with Random House for a collection of stories (THE ISLAND DWELLERS, pub date May 1, 2018) and a novel. Education: Brown, Iowa Playwrights Workshop, Juilliard. More info: www.jensilverman.com
ABOUT THE DIRECTOR
Marilyn Langbehn is beginning her eighth season at CCCT. Productions for the company include Bright Star, All the Way, Ragtime, All is Calm: The Christmas Truce of 1914, Cabaret, The Sound of Music, The Complete Works of William Shakespeare (abridged)[revised], the world premiere of The Lost Years and The Mountaintop, both of which began their lives at CCCT as part of the Reading Stage series. Her widely-acclaimed production of August: Osage County received Best Production and Best Director nods at the inaugural TBA Awards in 2014. Since moving to the Bay Area, she has directed numerous productions including the West Coast premiere of Race by David Mamet (Best Director, The Inlander), Rabbit Hole (“Top Ten Bay Area Productions of the Year”, Theater Dogs), Driving Miss Daisy (“Top Ten Bay Area Productions of the Year”, Contra Costa Times), the San Francisco premiere of Superior Donuts, the Bay Area premieres of Frost/ Nixon and Looking for Normal, Kiss Me Kate, The Woman in Black, Shadowlands, Jesus Christ Superstar, I Love You You’re Perfect Now Change, The 25th Annual Putnam County Spelling Bee, and Who’s Afraid of Virginia Woolf? More info: marilynlangbehn.net
This post was written by CCCT