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"Engrossing” – San Francisco Chronicle

“Clever and fast-paced — 4 Stars” – Marin IJ

“Gets right to the heart of real life” Theater Dogs

My Mañana Comes packs a punch.” — San Francisco Examiner

“Eye-opening and entirely devastating — North Bay Bohemian

Join four busboys at an uptown NYC restaurant as they learn the hard way how to deal with extreme pay cuts that jeopardize their plans, their dignity and their camaraderie.

The severity of the minimum wage crisis and rights for undocumented restaurant workers lie at the forefront of the Bay Area Premiere of Elizabeth Irwin's My Mañana Comes at Marin Theatre Company. As a 2013-14 Playwrights Realm Writing Fellow, Ms. Irwin debuted Mañana Off-Broadway last September at the Peter Jay Sharp Theater. Though Mañana is no fairy tale, it offers a fresh take on a story about four busboys' pursuit of the “American Dream” and a sociopolitical commentary on the solidarity of the working class.

Directed by Kirsten Brandt | Featuring Eric Avilés, Caleb Cabrera, Carlos Jose Gonzalez Morales and Shaun Patrick Tubbs

LENGTH OF SHOW – One hour and thirty-five minutes, no intermission

Sponsors

Performance Schedule

Evenings

Tue - Sun 7:30pm

Matinees

Sun (Preview) Nov 1, 4:00pm

Thu (Perspectives) Nov 12, 1:00pm

Sat, Nov 7 & Nov 21, 2:00pm

Sun Nov 8, 15 & 22, 2:00pm

Special Performances

Moms Matinee by UrbanSitter November 7 at 2:00pm, featuring onsite childcare at no additional cost. Read more about Moms Matinees.

Open Captioning for deaf and hard of hearing patrons November 12 at 1:00pm, supported by a generous grant from the Theatre Development Fund. Read more about open captioning here.


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Ticket Prices

Performance Center
seating
Side
seating
Previews (Oct 29 - Nov 1) $35 $35
Opening Night (Nov 3) $58 $53
Tue*, Wed, Thu $47 $42
Fri Eve $47 $42
Sat Eve $47 $42
Sun Eve & all Matinees $47 $42
Best Deal (all shows, limited availability) n/a $25

* Excludes Opening Night.

Prices subject to change. Phone orders subject to a $10 per order fee; online orders subject to a $3 per order fee. 

Disabled seating is currently only available through the MTC Box Office (415.388.5208 or in person). We apologize for any inconvenience.

The Perspectives matinees feature open captioning assistance for patrons who are hearing or vision impaired at no extra charge, and occur on the third Thursday of every performance run (check the calendar above for the exact date for each show). For more information about our open captioned performances, please contact the MTC Box Office by calling 415.388.5208, emailing boxoffice@marintheatre.org, or visiting in person.



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Discounts

GROUPS – Bring eight or more people to receive a substantial discount on tickets. Click here or call 415.388.5208.

SENIORS (65+) – $4 off any performances

UNDER 30 – $20, all performances

TEENS – $10, all performances

TEACHER – $10, all performances (limit 2). Must teach at a Marin County School. Contact the Education Dept. to request.

MILITARY – $5 off all performances. Learn more

Discount tickets are only available through the MTC Box Office (415.388.5208 or in person), unless stated otherwise.

MTC Engaged Special Events

After Words

After Words

After Most Shows

Join a member of our artistic staff (often with one or more members of the cast) for a Q&A discussion after every performance, except on Saturday evenings, and Opening and Closing Nights.

Perspectives

Perspectives

Thu, Nov 12 | 12 noon

Before our weekday matinee, bring a brown bag lunch and listen to an informal pre-show talk by a member of our artistic staff.

MTC After Hours

MTC After Hours

Nov 14 | 9:15

After the performance join us at the MTC bar for jazz, drink specials, and camaraderie. MTC After Hour features the musical stylings of Full Mood Swing and is a low-key way to mix with fellow audience members, the cast, crew, and whoever else might stop by. A great way to continue the conversation after the curtain goes down!

Cast

  • Eric Avilés

    Eric Avilés

    Jorge

    Eric Avilés makes his debut with MTC! He’s performed in the remount of Borderlands Theatre’s for the first National Latino Theatre Festival in 2014 at Los Angeles Theatre Company. A resident of NYC his credits include production of Theatre 167 and New Ohio’s At Queens Theatre in the . He’s performed in original works; at INTAR, and with Radical Evolution. California credits include world premiere cast of at Magic Theatre, at El Teatro Campesino, and at Teatro Vision. A native of Chicago his credits include; at Goodman, a co-production with Teatro Vista and Steppenwolf; atSteppenwolf. As a Teaching Artist he offers theatre workshops for schools, prisons, and community organizations. Film Credit: Chicago Boricua. www.ericaviles.com

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  • Caleb Cabrera

    Caleb Cabrera

    Whalid

    Caleb Cabrera is grateful to be here with you all, to be making his debut with Marin Theatre Company, and to be a part of this particular play. He was most recently seen as Elliot in (Dirty Hands) at the A.C.T Costume Shop. Past credits include; (Theatre Battery), (Impact Theatre), (Mugwumpin)and (Do It Live! Productions)He received his B.A. in Drama - Performance from San Francisco State University's Department of Theatre Arts. His next project is (Blue House Arts) at Thick House. Caleb lives in San Francisco with his lost brothers, in a hollow tree of a flat, at the top of the Rich, where it's always purple, and all for the lady Venus.

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  • Carlos Jose Gonzalez Morales

    Carlos Jose Gonzalez Morales

    Pepe

    Carlos Jose Gonzalez Morales is thrilled to be making his debut with Marin Theatre Company. As a student at San Jose State University he was last seen in the 50th anniversary celebration for Luis Valdez in ZOOT SUIT (Enrique/Rafas). Other San Jose State credits include THE GIVER (Father), MARAT/SADE (Marquis De Sade) and WUTHERING HEIGHTS (Edgar Linton). Other notable productions include, EURYDICE (Big Stone), THE DIVINERS (Dewey Maples), ALMOST, MAINE (Easton) and 12 ANGRY JURORS (Juror #4). He has performed at the Edinburgh Festival Fringe with Rio Hondo’s California Repertory Theatre. He has trained with NYU Tisch School of the Arts Head of Graduate Acting, Janet Zarish. Carlos is from Hacienda Heights, California.

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  • Shaun Patrick Tubbs

    Shaun Patrick Tubbs

    Peter

    Shaun Patrick Tubbs is ecstatic to be making his Marin Theatre Company debut in . REGIONAL THEATRE: (Eureka Suitcase), (HERE Arts Center), (Dixon Place),(Zach Scott Theatre), , , (Austin Shakespeare Theatre), (Salvage Vanguard Theatre), (Kirk Douglas Theatre), (Ensemble Theatre of Santa Barbara), (Whitmore Lindley Theatre), (Human Race Theatre Company). OTHER THEATRE: , ,,and(The University of Texas at Austin); Shaun received his M.F.A. from The University of Texas at Austin, and B.F.A. from Wright State University. He is a proud member of the AEA, SAG-AFTRA, and the SDC. www.shaunpatricktubbs.com

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Creative Team

  • Elizabeth Irwin

    Elizabeth Irwin

    Playwright

    Elizabeth Irwin was born in Worcester, raised by Brooklyn and finished by el D.F. (aka Mexico City). Before becoming a playwright she was a high school English teacher followed by a very long stint as a wanderer. She was selected as a member of the 2012-13 Soho Rep Writer/Director Lab while living shoe-free on a Mexican beach so she came back to New York. She then became a Playwrights Realm Writing Fellow in 2013, followed by Playwrights Realm’s Page One Resident Playwright in 2014-15. Her latest play, (Lucille Lortel Outstanding Play nominee, Drama Desk Outstanding Play Nominee, Outer Critics Circle John Gassner Award Nominee) received its critically acclaimed off Broadway debut at the Peter Jay Sharp theater in 2014. So far, it is slated for productions in 2015-16 at San Diego REPertory Theatre, Marin Theatre Company, ArtsWest Seattle, and Teatro Vista in Chicago.

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  • Kirsten Brandt

    Kirsten Brandt

    Director

    Kirsten Brandt is making her MTC debut. Brandt is an award-winning playwright, director and producer. Regional credits: Arizona Theatre Company, Santa Cruz Shakespeare, San Jose Rep, Theatreworks, The Old Globe, San Diego Rep, La Jolla Playhouse, North Coast Repertory, Sierra Repertory and Diversionary Theatre. For seven years, she served as Executive Artistic Director of Sledgehammer Theatre, San Diego’s alternative theatre known for innovative and provocative world premieres and reinterpretations of classics. Notable productions include and . She is the author of the award-winning plays , and . She is the co-adaptor of new version of Ibsen’s and a co-author of the new musical Brandt lectures in UCSC’s Theatre Arts Department. She is a member of SDC and a proud alumna of UC San Diego. www.kirstenbrandt.com

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  • Sean McStravick

    Sean McStravick

    Stage Manager

    Sean McStravick has previously stage managed MTC’s productions of Choir Boy,The Convert, The Whale, Fetch Clay, Make Man and Good People. He has worked for numerous Bay Area theaters including Shotgun Players, 42nd Street Moon and Willows Theatre Company, where he was the production stage manager from 2010 to 2012. Regionally, he has also supported productions at North Coast Repertory Theatre, Blue Trunk Theatre Company, Back Seat Theatre, the Reduced Shakespeare Company and Actors Alliance of San Diego. He is a proud member of Actors’ Equity Association.

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  • Sean Fanning

    Sean Fanning

    Scenic Designer

    Sean Fanning is a San Diego based designer and is excited to be making his Marin Theatre Company debut. Recent credits include , ,(The Old Globe)(Craig Noel Award Nomination)(San Diego Repertory Theatre)(Cygnet Theatre Company), (San Diego Musical Theatre),, and (Summer Repertory Theatre),and (Harrah’s Las Vegas). His designs have also appeared at Moxie Theatre, Diversionary Theatre, Intrepid Shakespeare Company, as well as the Old Globe/ USD Graduate Acting Program. He holds an M.F.A. in Scene Design from San Diego State University. www.seanfanningdesigns.com


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  • Brandin Barón

    Brandin Barón

    Costume Designer

    Regional Credits: Asolo Repertory Theatre, American Conservatory Theater, The Aurora Theatre (Berkeley), The Apollo Theater (Chicago), La Jolla Playhouse, Marin Theater Company, The Magic Theatre (San Francisco), The Public Theater/New York Shakespeare Festival, San Diego Repertory Theatre, San Jose Repertory Theatre, Shakespeare Santa Cruz, Theatreworks (Palo Alto), and Z Space (San Francisco). He is currently an Associate Professor of Design at The University of California, Santa Cruz. His chapter on Mariano Fortuny’s innovations in scenic and lighting design was published in Palgrave’s "Theatre, Performance and Analogue Technology: Historical Interfaces and Intermedialities (Palgrave Studies in Performance and Technology, 2013), edited by Kara Reilly. In 2015, his artwork was exhibited in juried group exhibitions in New York City, Los Angeles, San Diego, Miami, and Chester, UK. www.brandinbaron.com.

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  • David Lee Cuthbert

    David Lee Cuthbert

    Lighting Designer

    David Lee Cuthbert: Marin Theater Company debut. Broadway: Billy Crystal’s 2004, 2013, and HBO. Off Broadway: at NYMF and The Open Theater’s at PS122. Bay Area: The Magic, California Shakespeare, Theaterworks, Center Rep, San Francisco Playhouse and over two-dozen productions at San Jose Rep, including winning the BATCC award for best lighting of . Regional: ART, Arena Stage, La Jolla Playhouse, The Old Globe, San Diego Rep, Intiman, A Contemporary Theatre, Indiana Rep, Sledgehammer Theatre (Resident Artist) and he has designed at least a production per season for Arizona Theater Company since 2008, including deigning sets, media and lighting for last seasons production of also directed by Kirsten Brandt. He is a Professor of Design at UC Santa Cruz.

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  • Theodore JH Hulsker

    Theodore JH Hulsker

    Sound/Composition

    Theodore J.H. Hulsker, former baby model and mill valley native, is overjoyed to be making his debut at Marin Theater Company. Previous work includes ,, , and with the Shotgun Players. His work can also frequently be heard at the San Francisco Playhouse where past credits include , and . He is a Mugwumpin Company member and past work with them includes , and. In 2012 He received the Eric Landismen Fellowship for emerging designer and has been thrice nominated for a BATCC award for Sound Design. In addition to his work as a sound designer he curates a monthly art event called Klanghaus in North Oakland. For more information and sounds visit: http://theodore-hulsker.squarespace.com.

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  • ​Lynne Soffer

    ​Lynne Soffer

    Dialect Coach

    Lynne Soffer has provided coaching for 28 MTC productions, including Good People, The Beauty Queen of Leenane, Othello, the Moor of Venice, A Steady Rain and The Glass Menagerie. She has served as dialect/text coach on over 250 theater productions, including A.C.T., Berkeley Rep, San Jose Rep, Magic Theatre, Cal Shakes. SF Playhouse, Marin Shakespeare Company, the Old Globe, Dallas Theater Center, Arizona Theatre Company, the Arena Stage, Seattle Rep and Denver Center Theatre Company. Her film and television credits include Fruitvale Station, Metro, Duets, The Land of Milk and Honey and America’s Most Wanted. Soffer is a professional actor, director and teacher of actors. She is the recipient of the 2011 Actors’ Equity Association Lucy Jordan Humanitarian Award.

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  • ​Lizabeth Stanley

    ​Lizabeth Stanley

    Props Artisan

    Lizabeth Stanley recently returned to Marin Theatre Company after a year as the Production Manager for Bay Area Children’s Theatre. She designs and creates props for a number of theaters, including Impact Theatre, Golden Thead and A.C.T.

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  • Trevor Scott Floyd

    Trevor Scott Floyd

    Assistant Director

    Trevor Scott Floyd is thrilled to be a part of the MTC team as an Artistic Direction intern and to be working on our production of Originally from South Carolina, he recently graduated from Clemson University with degrees in Theatre and Political Science. Directing credits include and , both with Theatre Unhinged, a student-run production company he founded and led as Artistic Director. Selected assistant directing credits: (Warehouse Theatre); , (GLOW Lyric); , (Clemson). He would like to thank Jasson for the opportunity to take on this west coast adventure!

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* Denotes member of Actors Equity Association
+ Member, United Scenic Artists
^ Member, Society of Stage Directors and Choreographers

Reviews

  • “My Mañana Comes”: Real busboys of the Upper East Side

    If you’ve never given much thought to the role of busboys at upscale restaurants, Elizabeth Irwin’s compact “My Mañana Comes” should be a tonic eye-opener. The same may be said for some of the immigration issues that come up in Irwin’s play. Those takeaways, plus some fine performances, are the greatest strengths of the fairly engrossing play that opened Tuesday, Nov. 3, at Marin Theatre Company. But they also reflect its limitations.

    Irwin, an emerging New York playwright who’s making her Bay Area debut with “Mañana,” has a good eye for people and jobs that usually get overlooked and a keen ear for dialogue that crackles with the distinctive characteristics of common speech — including the differences between workplace and street speech, not to mention the degrees of learning English as a second language. She uses those features skillfully to build four distinct characters, and wields the politics and economics of their particular workplace humorously and realistically to create bonds and drive wedges between them.

    Money is tight for all four, and Irwin carefully builds in that reality to make the crux of her story an abrupt, significant cutback in their earnings and its dramatic impact on their relationships. No one emerges as a hero, but each character’s actions are perfectly believable.

    But in this tight and compact a telling, the clarity with which things play out makes the drama feel more like an object lesson — an effect that could be minimized in the kind of narrative possible in a film medium. As it is, “Mañana” is an enjoyable evening with some standout moments, particularly when Tubbs’ or Avilés’ eyes convey an inner struggle, all the more significant for being unspoken. But as good a story as it is, it might be better suited for the big or small screen.

    — Robert Hurwitt, San Francisco Chronicle Read full review
  • Theater review: Busboys work hard for the money in MTC’s My Mañana Comes

    The setup for “My Mañana Comes,” the new play at Marin Theatre Company, sounds fairly prosaic. It’s about four busboys at an upscale Manhattan restaurant that are scraping just to get by, especially when they suddenly start having a harder time getting paid. But playwright Elizabeth Irwin builds up the characters so effectively — their winning personalities, their camaraderie and their responsibilities and aspirations —that when it seems like the life they’re building is on the verge of slipping away the tension becomes nearly unbearable.

    At a time when the minimum wage, health benefits, family leave and workers’ right to organize are under attack in this country, “My Mañana Comes” makes the viewer feel viscerally how hard it can be for hard-working people to get by and how easily it can all get taken away. And when those workers are exploited just because management knows how badly they need this job, would take a heart of stone not to become incensed on their behalf.

    — Sam Hurwitt, Marin IJ Read full review
  • MTC’s Mañana captures real-life struggles, passions

    Elizabeth Irwin’s My Mañana Comes cuts through any pretense and gets right to the heart of real life in these United States. In so much of the entertainment we consume (and, truth be told, in the lives we lead), the people Irwin writes about here are on the fringes, working diligently to make modern life run smoothly and efficiently but without much consideration from those whose lives their work benefits. In this case, the focus is on four bus boys in a busy Manhattan restaurant. Two are Mexican immigrants, one here for four years, the other just a few months. The other two are American born. One is African American and the other is born to Mexican immigrants but without much connection to his parents’ native culture (he says he thought he was Puerto Rican until was a teenager).

    Hearing these voices on stage, experiencing the lives of these men is reason enough to see My Mañana Comes – the humanity, the empathy, the struggle that come through is powerful and, in many ways, universal. Any examined life, as they say, will yield great drama and complexity, and that’s certainly true here. These men are dealing with issues of race, economy, immigration, self-respect and ethics in ways that can have profound impact on their lives like where they sleep that night, how to avoid the police or how to save money when it costs so much to live in New York (especially when you’re eyeing a new pair of Nike sneakers).

    — Chad Jones, TheaterDogs Read full review
  • Busboys’ work-a-day world comes to light in ‘My Mañana Comes’

    Elizabeth Irwin’s “My Mañana Comes” brings to light what goes on behind the scenes at a high-class Manhattan eatery. And it ends with a big, effective jolt that clearly illustrates the playwright’s points about injustices facing minority workers who earn pitifully substandard wages.

    In the end, the contrasting plights of all four come to the fore, quite dramatically, as they face the reality of wage cuts. When real life at last kicks in, “My Mañana Comes” packs a punch.

    — Leslie Katz, San Francisco Examiner Read full review
  • ‘My Mañana Comes’ a striking portrait of busboys

    For the first 80 minutes of its 90-minute running time, Marin Theatre Company’s (MTC) Bay Area premiere of Elizabeth Irwin’s My Mañana Comes provides a strikingly realistic portrait of what the workaday routine is like for four men who are struggling to survive in New York City on the lowest rung of the restaurant job ladder. Being dependent on minimum wages and a share of tips isn’t easy.

    This is their story, one the program tells us Irwin knows first-hand because of her extensive experience in the foodservice industry before turning to a career in theater. She says she wrote the play to draw attention to these nearly invisible people who, despite adversity, manage to find humor and camaraderie in everyday living. Above all, they never let go of their dreams. Instead, their attitude seems to be Yes, today may be bad. We may suffer indignity and threats to our income, but at least we have a job, and when mañana comes … !

    — Charles Brousse, Pacific Sun Read full review
  • Private Eyes

    In a near balletic production at Marin Theater Company, My Mañana Comes follows four hard-working busboys at an upscale restaurant in New York City. Set entirely on the prep side of the bustling kitchen (we never see a single waitperson), Irwin's brilliant script pulls us in immediately, and director Kirsten Brandt keeps things hopping as the quartet of actors bus dishes, prep plates of food, slice fruit and vegetables (using real knives) and rush in and out of swinging doors with a grace and energy that would be impressive even if they weren't also giving deep, fleshed-out and fully engaging performances.

    Peter (Shaun Patrick Tubbs) and Jorge (Eric Avilés) have worked in the restaurant the longest, and each tries to school the two newer bussers, Whalid (Caleb Carera) and Pepe (Carlos Jose Gonzales Morales), in his own way. A bit of competition is natural, but when management cuts their pay, the way these four invisible men collide is eye-opening and entirely devastating.

    — David Templeton, North Bay Bohemian Read full review

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