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“A full ensemble of finely nuanced performances” – Rob Hurwitt, San Francisco Chronicle

“5 STARS – A strong outing” – Sam Hurwitt,

Tom has fled to the basement to escape the end of the world. On the first floor, Vivian makes the mistake of saying what all the women in the office were already thinking. Randy’s smoking dope on 2, Farrah’s waterboarding Yuri on 7 and the toilet explodes on 4.

In spite of looming coyotes and apocalyptic billboards, everyone does their best to get through another day. Life is short, after all – whether or not the world’s actually ending.

This world premiere comedy by up and coming playwright Rachel Bonds explores the relationships we take most for granted – those with whom we work every day – and asks us how well we know the people we share a break room – and maybe even a lifetime – with.

Run time: Approximately 1 hour 45 minutes


ABOUT THE PLAYWRIGHT

Rachel Bonds’ plays have been developed or produced by South Coast Rep, Ars Nova, Manhattan Theatre Club, McCarter Theatre, Roundabout Underground, Atlantic Theater Company, Williamstown Theatre Festival, New Georges, Ensemble Studio Theatre, Actors Theatre of Louisville, Studio Theatre, SPACE on Ryder Farm, The Arden and New York Stage & Film, among others. 

Her plays include: Curve of Departure, a commission from South Coast Rep, soon to be workshopped at the 2016 Pacific Playwrights Festival with Mike Donahue; Five Mile Lake, winner of the 2013 L. Arnold Weissberger Award from the Williamstown Theatre Festival, which received its world premiere at South Coast Rep, directed by Daniella Topol, and its east coast premiere at The McCarter in May 2015, directed by Emily Mann; ###em/em### her commissioned play for Studio Theatre in Washington DC, which received its world premiere in October 2014, directed by Mike Donahue; At the Old Place, developed during her 2013 Writer’s Room Residency at The Arden in Philadelphia; Swimmers, featured in NY Stage & Film’s 2013 Powerhouse Reading Series and Roundabout Underground’s Reading Series, receiving top ranking on The Kilroys List; Rez, commissioned by MTC & Ars Nova, a musical collaboration with The Bengsons; Alma, commissioned by Atlantic Theatre Company; Michael & Edie, named a NY Times Critic's Pick in 2010, directed by Robert Saenz de Viteri; Winter Games, winner of the 2014 Heideman Award and part of the Ten Minute Plays at the 2014 Humana Festival; and Anniversary, produced in EST’s 2010 Marathon of One-Act Plays, winner of the 2012 Sam French Festival and featured on Public Radio’s “Playing on Air.”  Bonds is an Alumna of EST’s Youngblood, Ars Nova’s Play Group and New Georges’ The Jam. She was the Fr. William Ralston Fellow at the 2011 Sewanee Writers’ Conference and a member of SPACE on Ryder Farm’s 2014 Working Farm Writers’ Group. She is currently working on commissions for South Coast Rep and The McCarter. Bonds has served as a Volunteer at the 52nd Street Project and as a dramaturg for the 2015 Young Playwrights Conference in NYC. Rachel was recently named the 2016 Tow Foundation Playwright in Residence at Ars Nova. She is a graduate of Brown University.

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Performance Schedule

Evenings

Tue - Sun 7:30pm

Matinees

Sun (Preview) Mar 6 &12, 4:00pm

Thu (Perspectives) Mar 17, 1:00pm

Sat, Mar, 12 (Preview) & 26, 2:00pm

Sun Mar 13, 20 & 27, 2:00pm


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Ticket Prices

Performance Center
seating
Side
seating
Previews (Mar 3 - 6) $35 $35
Preview Week 2 (Mar 9 - 12) $47 $42
Opening Night (Mar 12) $58 $53
Tue, Wed, Thu $47 $42
Fri Eve $47 $42
Sat Eve* $55 $50
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.

MTC After Hours

MTC After Hours

March 19 | 9:30

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!

Sitter Saturday

Sitter Saturday

Saturday, March 26 | 2pm

In addition to offering a special discount for Marin Theatre Company patrons, UrbanSitter will provide free babysitters for MTC’s Sitter Saturday on Saturday, March 26, at 2:00 pm.

Cast

  • Jolly Abraham*

    Jolly Abraham*

    Priya

    Jolly is making her MTC debut with Swimmers. Broadway: Coram Boy and Bombay Dreams. Off-Broadway: The Winter’s Tale, Hamlet, No Exit, and The Bald Soprano (favorites at The Pearl), Massacre, a new play by Jose Rivera at Rattlestick, Twelfth Night as Viola (Sonnet Rep), McReele (Roundabout). Regional: The Wolfe Twins by Rachel Bonds at The Studio Theatre in DC, Scorched (Wilma Theater, Barrymore Nomination), Loves Labours Lost (The Shakespeare Theatre DC and RSC), and Pentecost (Old Globe). Four seasons at Lincoln Center Directors Lab. TV/Web: recurring Law and Order SVU, Wallflowers (webseries), Unforgettable, Smash, Lights Out, Gossip Girl, Sex and the City, Ed, Law and Order: CI, Bedford Diaries, White Collar, Smash, and Nurse Jackie. Film: “A Walk Among the Tombstones, The Adderall Diaries, Stay, Loving Leah, and After You Left. Jolly is a resident actor with The Pearl Theatre Company in NYC. BFA from The North Carolina School of the Arts.

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  • Ryan Vincent Anderson*

    Ryan Vincent Anderson*

    Bill

    Ryan Vincent Anderson is pleased to return to MTC after his appearance in In the Red and Brown Water. Theaters: LATheatreworks; Independent Shakespeare Company; African­-American Shakespeare Company; International City Theater; Long Beach Opera; PCPA; A Noise Within; Antaeus Company; Oregon Shakespeare Festival, and others. His short play Outside , and one man show Most Likely To; were produced by the first annual short play festival at the Robey Theatre Company and Son of Semele Solo Play Festival respectively. Film: Feeding Mr.Baldwin; TV: Scandal, General Hospital, The Young and the Restless, Eagleheart; Voiceover: World of Warcraft, Diablo III and audiobooks. A Queens, NY native, he is excited to transition back east this summer. Ryan received his MFA in acting from CalArts. www.ryanvanderson.com

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  • Adam Andrianopoulos

    Adam Andrianopoulos

    Dennis

    Adam Andrianopoulos is an NYC-based actor. He has a degree in Music Theatre from Nazareth College.  Recent roles include Lazar Wolf in Fiddler on the Roof at Priscilla Beach Theatre, and John Berry for the educational series Wall Street English. He performs regularly with his improv troupe Five For Vendetta. Adam is excited and proud to be making his West Coast debut with Swimmers. Thanks to everyone at Marin Theatre Company, and all the llamas, mamas, papas, dudes, and faces back home.

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  • Jessica Bates*

    Jessica Bates*

    Farrah

    Jessica is making her MTC debut with Swimmers. Her New York credits include Medea (Riverside Theatre), Love in the Time of Unemployment (Gershwin Hotel), American Dreams: Lost and Found (Lucille Lortel Theatre) 365 Days/365 Plays (The Women’s Project),The Magnificent Cuckold (East River Commedia Theatre). She has toured nationally in Twelfth Night and Hamlet (The National Shakespeare Company), American Dreams: Lost and Found, As You Like It (The Acting Company). Her regional credits include 123 (SF Playhouse Sandbox Series), The Elephant Man (Circle of Life Theatre), In A Word (SF Playhouse Sandbox Series), After the Revolution, The Lyons (Aurora Theatre), Noises Off (Idaho Shakespeare Festival), Or, (Capital Stage), The Voysey Inheritance (Milwaukee Rep), The Mask of Moriarty, Travesties, The Seagull, Tonight at 8:30 and Henceforward (Pittsburgh Irish and Classical Theatre), Cyrano De Bergerac (Hangar Theatre). She has appeared in the U.K. in Mind The Gap (UK Tour), A Midsummer Night’s Dream, The Tempest (Cambridge Shakespeare Festival), Miss Julie (Man in the Moon Theatre, London) and The River Merchant’s Wife (Edinburgh Fringe Festival).

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  • L. Peter Callender*

    L. Peter Callender*

    Walter

    L. Peter Callender happily returns to MTC have appeared here in My Children! My Africa!, Seven Guitars, Circle Mirror Transformation, The Whipping Man and The Convert. Mr Callender is the Artistic Director of African-American Shakespeare Company in San Francisco, and an Associate Artist at California Shakespeare Theater where he has appeared in over 20 productions including King Lear (Cornwall), Man and Superman (Ramsden), Richard II (Bollingbroke), Nicholas Nickleby (Ensemble), An Ideal Husband  (Caversham), Julius Caesar (Caesar), Twelfth Night (Orsino) and many others. He's performed on Broadway in Prelude to a Kiss (Tom) and has appeared at Berkeley Repertory Theatre, Lorraine Hansberry Theatre, American Conservatory Theater, San Jose Repertory Theatre, San Jose Stage, and Aurora Theatre Company. His directing credits include Jitney at American Stage Company, A Raisin in the Sun, Twelfth  Night, Much Ado About Nothing and Cinderella at AASC and Fences at Harbor Theater. Mr. Callender is the recipient of SF Bay Guardian's Goldie Award (Best Actor), the East Bay Express Best of the East Bay Award, Bay Area Theatre Critics Award for World Music at TheatreFIRST, SF Chronicle Most Valuable Player, 2014 and Best Classical Theater Mentor, 2013. Complete bio at www.lpetercallender.com

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  • Sarah Nina Hayon*

    Sarah Nina Hayon*

    Charlene

    Sarah Nina Hayon is proud to be a native San Franciscan. A three-time Drama Desk Nominee, she is a proud member of LAByrinth Theater Company and Partial Comfort in New York City. Most recently seen in the west coast premiere of Bright Half Life. She has workshopped plays on Broadway and Off-Broadway including Manhattan Theatre Club, The Roundabout, New York Stage and Film, Playwrights Horizons, Yale, The Huntington, The Public Theatre and NYTW. Theater Credits Include: Life Is A Dream (Cal Shakes, Loretta Greco), This Golden State (Magic Theatre, Loretta Greco), Water By The Spoonful (The Old Globe, Eddie Torres) Se Llama Cristina (Magic Theatre, Loretta Greco) Bright New Boise (Drama Desk Nom., Partial Comfort, Davis McCallum), Eldoris,(T41, Leigh Silverman) Sor Juana (Royal Shakespeare Company & LAByrinth), The Provenance of Beauty (Obie Award, Drama Desk Nom.,The Foundry Theater, Melanie Joseph) Night Over Taos (INTAR, Estelle Parsons), Rearviewmirror (Drama Desk Nom Reverie, dir. Carl Forsman)  TV & Film: Curmudgeons In Love (dir. Danny Devito) Unforgettable, Oscar, Parker & Maggie, Are We There Yet, The Green, SATC, Law & Order, Avatar. Upcoming Theater: This Time, Rising Circle Productions (Spring NY 2016)

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  • Brian Herndon*

    Brian Herndon*

    Yuri

    Brian Herndon has previously appeared at MTC in As Thousands Cheer, The Good German, and Failure: A Love Story. Most recently, he played Mr. Elton in Jane Austen’s Emma at TheatreWorks, a role he originated in its world premiere and has performed in Cincinnati, St. Louis, San Diego, Tucson, Phoenix and New York. Other favorite roles include Dromio of Syracuse in Comedy of Errors with the SF Shakespeare Festival, Edward Gant in Edward Gant’s Amazing Feats of Loneliness at Shotgun Players, and Charlie Baker in The Foreigner at the Harbor Theatre. He has performed with Aurora Theatre, San Jose Stage, Berkeley Playhouse, New Conservatory Theatre Center, 42nd Street Moon and many other theatres around the Bay. He is a proud member of PlayGround and Actors’ Equity Association. Much love to Jocelyn and Gwen.

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  • Charles Shaw Robinson*

    Charles Shaw Robinson*

    George

    Charles Shaw Robinson was last seen as Gloucester in King Lear for the California Shakespeare Theater. His work for MTC includes roles in Tarell Alvin McCraney’s Choir Boy, directed by Kent Gash, and in Bill Cain’s Equivocation, directed by Jasson Minadakis. Other favorite roles include Sorn in Stupid F**king Bird and Leonard in Seminar (both for the San Francisco Playhouse); Milton in the West Coast premiere of Tony Kushner's Homebody/Kabul (Berkeley Repertory Theatre); Iago in Othello (California Shakespeare Theatre); and Henri in Magic Fire, directed by Jack O'Brien (Berkeley Repertory Theatre/Old Globe). Regional Theatre credits include the title roles in Hamlet (Cincinnati Playhouse in the Park), Pericles (Centerstage, Baltimore), and Scaramouche (The Empty Space Theatre, Seattle). He was last seen in New York in the American premiere of Frank McGuinness’s Gates of Gold at 59E59 Theaters, and before that at the Second Stage Theatre as the Father in Sarah Ruhl’s Eurydice.

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  • Max Rosenak*

    Max Rosenak*

    Randy

    Max is thrilled to be working with MTC. Regional credits: Bad Jews (Magic Theatre) A Christmas Carol (American Conservatory Theater), Orpheus Descending (Intiman Theatre), The Rivals (Huntington Theatre Company), Antony & Cleopatra and Twelfth Night (A Noise Within), The Miracle Worker (Olney Theatre Center), The Drawer Boy (TheatreFirst). New York: 6969 (59E59 Theatre), Help Me to Make It (New Ohio Theatre). Film/TV: La Mission (2009 Sundance Film Selection), Laurence, Seducing Charlie Barker and Tosh.0. This winter Max received a residency to develop his solo show Before You Go at the IRT/New Ohio Theatre, and he is currently directing a feature documentary about his brother: We Found David Rosenak. He teaches with the Shakespeare Society and the 52nd Street Project. Max is a proud company member of The Williams Project and The (Blank) Space. Education: BFA, Boston University. MFA, American Conservatory Theater. thewilliamsproject.org  wefounddavidrosenak.com.

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  • Kristin Villanueva*

    Kristin Villanueva*

    Vivian

    Regional Theatre: Mary Zimmerman’s The White Snake at The Old Globe, Goodman Theatre and McCarter Theatre Center; Julia in Two Gentlemen of Verona at The Old Globe; Elizabeth in Pride and Prejudice at PlayMakers Repertory Company; Helena in All’s Well That Ends Well at Shakespeare & Company; 4000 Miles and O Guru Guru Guru, or why I don’t want to go to yoga class with you at Actors Theatre of Louisville; Juliet in Romeo and Juliet at Nebraska Shakespeare Festival; and the Dromio twins in The Comedy of Errors at Theatreworks Colorado. International Theatre: The Wind-up Bird Chronicle at the Singapore Arts Festival. New York: National Asian American Theatre Company, Theatreworks U.S.A., Here Lies Love lab productions at The Public Theater. TV& Film: Forever, Gossip Girl, Merry Christmas, Eve, and the WordPlay Shakespeare e-books A Midsummer Night’s Dream and Romeo and Juliet. Training: SUNY Purchase

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  • Aaron Roman Weiner*

    Aaron Roman Weiner*

    Tom

    Broadway: Fool For Love. Recent Off-Broadway: The Insurgents, Radiance, and Thinner Than Water (LAByrinth Theater Company). Goodbye Cruel World (Roundtable Ensemble), Two Thirds Home (Broken Watch). Recent regional: Rounding Third (Hangar Theatre), A Steady Rain (TheaterWorks, Hartford), The Glass Menagerie (Steppenwolf Garage), Touch (Victory Gardens Theater, Chicago, Jeff Award nomination), Pyretown (Victory Gardens Theater). Television: Recurring roles on The AmericansCrisis, and Made in Jersey. Other TV includes The Following and Person of Interest. Films include Side Effects, Public Enemies, The Express and Osso Bucco. Proud member of LAByrinth Theater Company.

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Creative Team

  • Rachel Bonds

    Rachel Bonds

    Playwright

    Rachel Bonds’ plays have been developed or produced by South Coast Rep, Ars Nova, Manhattan Theatre Club, McCarter Theatre, Roundabout Underground, Atlantic Theater Company, Williamstown Theatre Festival, New Georges, Ensemble Studio Theatre, Actors Theatre of Louisville, Studio Theatre, SPACE on Ryder Farm, The Arden and New York Stage & Film, among others. Her plays include: Curve of Departure, a commission from South Coast Rep, soon to be workshopped at the 2016 Pacific Playwrights Festival with Mike Donahue; Five Mile Lake, winner of the 2013 L. Arnold Weissberger Award from the Williamstown Theatre Festival, which received its world premiere at South Coast Rep, directed by Daniella Topol, and its east coast premiere at The McCarter in May 2015, directed by Emily Mann; The Wolfe Twins, her commissioned play for Studio Theatre in Washington DC, which received its world premiere in October 2014, directed by Mike Donahue; At the Old Place, developed during her 2013 Writer’s Room Residency at The Arden in Philadelphia; Swimmers, featured in NY Stage & Film’s 2013 Powerhouse Reading Series and Roundabout Underground’s Reading Series, receiving top ranking on The Kilroys List; Rez, commissioned by MTC & Ars Nova, a musical collaboration with The Bengsons; Alma, commissioned by Atlantic Theatre Company; Michael & Edie, named a NY Times Critic's Pick in 2010, directed by Robert Saenz de Viteri; Winter Games, winner of the 2014 Heideman Award and part of the Ten Minute Plays at the 2014 Humana Festival; and Anniversary, produced in EST’s 2010 Marathon of One-Act Plays, winner of the 2012 Sam French Festival and featured on Public Radio’s “Playing on Air.”  Bonds is an Alumna of EST’s Youngblood, Ars Nova’s Play Group and New Georges’ The Jam. She was the Fr. William Ralston Fellow at the 2011 Sewanee Writers’ Conference and a member of SPACE on Ryder Farm’s 2014 Working Farm Writers’ Group. She is currently working on commissions for South Coast Rep and The McCarter. Bonds has served as a Volunteer at the 52nd Street Project and as a dramaturg for the 2015 Young Playwrights Conference in NYC. Rachel was recently named the 2016 Tow Foundation Playwright in Residence at Ars Nova. She is a graduate of Brown University.

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  • Mike Donahue^

    Mike Donahue^

    Director

    NYC: world premiere of Matthew Lopez’s The Legend of Georgia McBride (MCC & Denver Center); Jen Silverman’s Phoebe in Winter (Clubbed Thumb) and The Hunters (Cherry Lane Mentor Project); and Ethan Lipton’s Red-Handed Otter (Playwrights Realm). Regionally: world premieres of Jen Silverman’s The Roommate (Humana); Rachel Bonds’ The Wolfe Twins (Studio Theatre D.C.); and Lauren Feldman’s Grace, or The Art of Climbing (Denver Center). Annie Baker’s adaptation of Uncle Vanya (Weston); Shostakovich’s Moscow, Cheryomushki with new libretto by Meg Miroshnik (Chicago Opera Theatre); Antony & Cleopatra (Shakespeare Festival St. Louis); 4000 Miles (Actors Theatre); and Assassins, Henry IV & V (co-director) and A Number (Playmakers Rep). Readings/workshops: Roundabout Underground, NYTW, Soho Rep, Williamstown, McCarter, O’Neill, The Lark, Ars Nova, Chautauqua, Cape Cod Theatre Project. Fellowships: Fulbright (Berlin), Sagal (Williamstown), Dramaleague, Joe A. Callaway Award (SDCF); alum, Soho Rep Writer/Director Lab; Artistic Director, Yale Summer Cabaret (2007 & 2008); Graduate, Harvard and Yale School of Drama. mikemdonahue.com

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  • ​Megan McClintock

    ​Megan McClintock

    Stage Manager

    Megan is excited to be joining the Marin Theatre Company family with Swimmers. She recently assistant stage managed Between Riverside and Crazy, A Little Night Music and Indian Ink at ACT. She often works at Berkeley Repertory Theatre, favorite Berkeley Rep credits include An Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures, Girlfriend, Arabian Nights, The White Snake, No Man’s Land, Dear Elizabeth, and How to Write a New Book for the Bible. Other local credits include Rapture, Blister, Burn at Aurora Theatre Company, Born Yesterday at Center Rep and Cosi Fan Tutte, L’elisir d’Amore, and Postcard from Morocco at the Merola Opera Program. McClintock has a B.A. in theatre and history from Willamette University.

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  • Dane Laffrey+

    Dane Laffrey+

    Scenic/Costumes

    Dane Laffrey is making his MTC debut with Swimmers. Recent work includes set designs for Fool For Love and Legacy in Williamstown. On Broadway he did set and costumes for Deaf West's Spring Awakening and set for Fool For Love. Off-Broadway he did set and/or costumes for The Christians & Iowa (Playwright’s Horizons), The Glory of the World (B.A.M. Harvey), Cloud 9 (Atlantic), Bad Jews and Tigers Be Still (Roundabout), Arlington (Vineyard), King Liz, American Hero and The Talls (2econd Stage), Disgraced (Lincoln Center), The Maids (Red Bull), I Remember Mama and The Patsy (Transport Group) and The Few (Rattlestick). Regionally he has worked at The Humana Festival, Mark Taper Forum, South Coast Rep., Old Globe, Huntington, Goodspeed, Denver Center, Center Stage, Dallas Theatre Center, New York Stage & Film and others. He has worked internationally in Tokyo, Oslo, Osaka and throughout Australia. Dane has been nominated for a Drama Desk Award and 4 Henry Hewes Awards.

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  • Kurt Landisman

    Kurt Landisman

    Lighting

    Kurt has designed lighting for over 40 of MTC’s productions, including Choir Boy, The Whale, August Wilson’s Fences, Jacob Marley’s Christmas Carol, Topdog/Underdog, Othello, the Moor of Venice and Seven Guitars. His lighting designs have been seen at most Bay Area theaters including A.C.T., Berkeley Rep, San Jose Rep, Aurora Theatre Company, Center REP, San Francisco Opera, Cal Shakes, Magic Theatre and TheatreWorks. He has received numerous San Francisco Bay Area Theatre Critics Circle and Drama-Logue awards. Nationally, Landisman’s designs have been seen at Arizona Theatre Company, Laguna Playhouse, Los Angeles Opera, Minnesota Opera, Sacramento Opera, Virginia Opera, Tulsa Opera, Ballet Arizona, Guthrie Theatre and Cincinnati Playhouse, as well as Off Broadway at Circle Rep and Douglas Fairbanks Theatre. His association with playwright Sam Shepard included the world premieres of True West and Fool for Love. Internationally, his designs have been seen in Tokyo, Singapore and Shanghai. kurtlandisman.com

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  • Teddy Hulsker

    Teddy Hulsker

    Sound

    Theodore is returning to MTC after having done sound design for My Mañana Comes. Previous work includes Assassins, Woyzeck, Strangers Babies, Harry Thaw Hates Everybody and Our Town with the Shotgun Players. His work can also frequently be heard at the San Francisco Playhouse where past credits include Into the Woods, Seminar and Tree. He is a Mugwumpin Company member and past work with them includes The Great Big Also, Luster and Blockbuster Season. 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. theodore-hulsker.squarespace.com

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

Reviews

  • Just another day in the apocalypse

    Don’t expect to learn what kind of work is supposed to come out of the corporate office in Rachel Bonds’ “Swimmers.” The end-product of the adventurously quotidian world premiere that opened Saturday, March 12, is incisively bittersweet comedy with an empathetic undertow.

    “Swimmers” is just another day in the cookie-cutter contemporary workplace, but one in which many of the personal quirks, desires, insecurities and domestic problems emerge in deft strokes from the surface-intimacy between strangers who spend most of their days working side-by-side. And one in which office interactions may be imbued with the apocryphal fears of the day, whether of terrorism, climate change, coyotes or more mythical matters.

    — Rob Hurwitt, San Farncisco Chronicle Read full review
  • Office workers in MTC’s ‘Swimmers’ are drowning in their own lives

    There’s a persistent sense of existential dread pervading “Swimmers,” the new play by Rachel Bonds premiering at Marin Theatre Company. It takes place in a soul-sucking office where no one works — or almost no one. The good-natured janitor Walter, played with jovial gentleness by L. Peter Callender, goes about his business of cleaning up after everyone else. But the others are all too consumed with their own personal angst to do more than occasionally look busy.

    That sense of humans struggling in a coldly inhuman environment pervades New York director Mike Donahue’s sharply staged production. Dane Laffrey’s low-ceilinged, boxy set gives a claustrophobic feeling from the outset, enhanced by the subliminally oppressive droning noises in Theodore J.H. Hulsker’s sound design. Although the scenes all take place in different parts of the office building, it all looks the same, just with the desks rearranged in the same dreary gray corridor. Somehow Kurt Landisman’s shifting daylight leaking through the blinds only adds to the sense that the time people spend in this office is time that they’ll never get back.

    — Sam Hurwitt, Marin IJ Read full review
  • Swimmers, in the deep end at the office

    Swimmers, Rachel Bonds’ new play about a day in the life of a group of office workers, treads water for a long time before making its way to the deep end, but once it gets there the results leave a lasting impression. With its beguiling symmetry and sharply observed characters, Bonds creates a prismatic look at the corporate workplace and its inhabitants, imbued with a sense of ennui most people who’ve done time in similar environments will recognize. That may sound an invitation to a downer, but the tone of Swimmers is warm, funny, and empathetic rather than caustic, quietly acknowledging that life in a cubicle (or an open floor), and the toll it takes, is a choice many of us make due to circumstances and necessity, not preference. Thankfully, Bonds’ interest is in making observations about how we live, not judgements.

    — Mark Rudio, A Beast in a Jungle Read full review
  • Theater: Confessions

    Rachel Bonds’ Swimmers, which just began a three-week world-premiere run at Mill Valley’s Marin Theatre Company (MTC), adds to a lengthy list of plays that question the psychological effects of America’s capitalist system. The exemplar is Arthur Miller’s 1948 epic Death of a Salesman, but from Eugene O’Neill to the present there have been many others. Their common theme is that, despite public pronouncements of belief in the golden promise of an American Dream, ordinary people feel isolated and lonely when they realize that they are cogs in an economic machine that is designed to serve the privileged few.

    Lately—as seen on stage, in films, television and in our current election battles—what began as a minority view (mostly among intellectuals) has spread to the commons, bringing with it growing resentment, confusion and dystopian fears about the imminent collapse of civilization as we know it.

    This is the theatrical landscape that Bonds explores in Swimmers, but it’s not the gloomy portrait one might expect. She writes with a sensitive touch that, along with the pain, also acknowledges the inescapable humanity of her characters and the humor that accompanies their angst. Mix empathy and laughs with a light splash of existential dread and you have a pretty potent dramatic framework.

    — Charles Brousse, Pacific Sun Read full review
  • Rachel Bond’s ‘Swimmers’ Ventures into the Deep End Without Going Off It

    Rachel Bond’s Swimmers, premiering at the Marin Theatre Company under Mike Donahue’s alert direction, is the best of a limited type of play. We might say that it springs from the genre of tiny hurts and humane gestures—the sweet spot between Chekhov and a Hallmark card.

    Swimmers follows the travails of 11 workers in what appears to be a growing and successful sales company. They’re all suffering—death, divorce, alcohol, unrequited love. It’s a standard list of disappointments. Of course, we know that what these employees truly need is care, and sometimes nothing more than a simple show of concern. Gentleness, in all its guises, is the guiding aesthetic here.

    The theme of human disappointment and redemption is usually the province of domestic dramas: all families are cauldrons of low key disasters and the steady love needed to repair them. In shifting the setting from the home to the office, Swimmers reorders our perception of suffering and its remedies. The rhythms of work lack the blunt force trauma of familial relations, and so what we feel is both less fraught but harder to get hold of—this slippery quality lends the play a touch of menace and that’s nice.

    — John Wilkins, KQED Read full review
  • Swimmers

    A mysterious black billboard is said to proclaim in blaring white letters, “7/7/16 – End of the World.”  Coyotes suddenly roam urban industrial parks; a scraggly woman in the woods taps a passer’s-by head warning, “The time has come,” and there is talk in the hallways of the sure-to-happen rapture.  Maybe these are not the normal conversations of office cohorts on a typical work day; but then as one vocalizes for all, “I’m just worried about things ... Feels like a lot is happening.”  

    All day, apocalyptic worries creep in and out of office mates’ banter – but so do juicy gossip of the big boss’s suggestive whispers into a young intern’s ear, worries about a colleague’s mental state after last week’s trip to the emergency room, hopeful flirtations that fall disappointedly flat, and news by one of a big promotion and by another, of being passed over.   In a series of snapshots from early morning in the basement until late night on the roof of an office complex, Rachel Bonds has written a fascinating exposé of a modern work setting where people who spend a good portion of their waking hours with each other learn that the impending doom many of them is feeling is shared by most others. They also begin to discover that rather than some outside, inevitable catastrophe, their shared sense of ruination may be more related to those other parts of their everyday lives that largely go unshared at work.  Marin Theatre Company presents with a superb cast and under outstanding direction the world premiere of Swimmers, a fast-moving, compelling, and fascinating slice of work life that could be yesterday, today, or tomorrow at almost any of hundreds of Silicon Valley companies.

    — Eddie Reynolds, Theater Eddys Read full review
  • World Premiere “Swimmers” by Rachel Bonds at MTC

    Marin Theatre Company has just opened Swimmers, with a superb cast and outstanding Director Mike Donahue. Swimmers is a fast-moving, compelling and fascinating slice of life that could be yesterday, today ortomorrow.  The documentary-level realness of the performances, all powerful and yet completely grounded, became a perfectly unified mechanism for carrying Rachel Bonds’ gently persistent ideas and thoroughly believable dialogue.  It has really stayed with me.

    When the play opens, a few of the characters are peering through an office-building window – at coyotes in the parking lot!  Nearby billboards are predicting the end of the world.  It seems to be a very strange day at the office, and it’s only 9 a.m.!  Running about 2 hours without an intermission, the entire performance is composed of 9 mini-plays, taking place in an office building – beginning in the basement, with another play up one floor higher until we get to the roof.

    This comedy/dramatic “slice of life” ensemble play explores relationships among 11 characters, representing those with whom we in the audience might work every day, and just take for granted. Each character metaphorically swims through surreal suppositions and interrelationships to get to the other shore (the end of the day) with psyche intact.

    — Flora Lynn Isaacson, For All Events Read full review

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