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By Sarah Ruhl | Directed by Jessica Thebus

"Magnetic … compelling … mesmerizing” – San Francisco Chronicle

“A lovely, touching and sometimes funny tale that explores many forms of love and connection.” – Marin IJ

“One of the more moving theatrical experiences I’ve had for a while.” — Chad Jones, Theater Dogs

An American woman and her Tibetan husband make a life together with their three-year-old son. When a monk announces that the couple’s son is the reincarnation of his deceased teacher, a series of heart wrenching events lead the family from the comfort of their lives in the US to the mountains of Dharmsala. At its core, is the story of a mother’s struggle to come to terms with her son’s special nature, and how she comes to let him go. Ultimately, this gentle meditation on faith and love speaks to anyone who has been a mother, or a mother’s child.

Interspersed with Tibetan Buddhist ritual and dance and featuring renowned Berkeley-based Tibetan artist Tsering Dorjee Bawa, Marin Theatre Company’s production of is the west coast premiere of two-time Pulitzer Prize nominee and MacArthur “Genius” grant recipient Sarah Ruhl’s latest and perhaps most personal contribution to the American theatre.

LENGTH OF SHOW: One hour and forty minutes, with one intermission.

TICKET PRICES: $25 - $58. All prices subject to change without notice.

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Performance Schedule

The Oldest Boy runs approximately two hours including one 15-minute intermission.

Evenings

Tue - Sun 7:30pm

Matinees

Sun (Preview) Sep 13, 4:00pm

Thu (Perspectives) Sep 24, 1:00pm

Sat Oct 3 & Oct 10 2:00pm

Sun Sep 20, Sep 27, Oct 4 & Oct 11, 2:00pm


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Ticket Prices

Performance Center
seating
Side
seating
Previews (Sep 10 - 13) $35 $35
Opening Night (Sep 15) $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, Sept 24 | 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

Sept 26 | 9:45

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

  • Christine Albright

    Christine Albright

    Mother

    Christine Albright was last seen at MTC as Nina in Seagull. Her New York credits include Marge in Walking Down Broadway (Mint Theatre), Ros in Arrangements (The Cherry Lane Theatre) and Thomasina in Arcadia (New York Classical Theatre). In 8 seasons at the Oregon Shakespeare Festival, her favorite roles include: Judith in Equivocation, Juliet in Romeo and Juliet, Maria in Up, Celia in As You Like It, and Lady Percy in Henry IV, Parts 1&2. Regionally, she has appeared at Arena Stage, Berkeley Repertory Theatre, Seattle Repertory Theatre, Virginia Stage Company and The La Jolla Playhouse. Christine received her MFA from the University of California- San Diego.

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  • Tsering Dorjee Bawa

    Tsering Dorjee Bawa

    The Oldest Boy

    Tsering Dorjee (Bawa) was born in Toe Bawa (Ngari region), Tibet. He received his Masters in Tibetan Performing Arts from the famed Tibetan Institute of Performing Arts (TIPA) in Dharamsala, India. To complement traditional performing arts, he attended acting training in France, Netherlands, India and recently graduated from the Barbizon international School of acting and Modeling in San Francisco. Tsering has performed in several films such as the 1999 Oscar nominated " and collaborated with numerous artists, including composer Michael Beckar with whom he created the original soundtrack for the 2009 Emmy Award winning documentary " He recently had a show case in New York for at the Lincoln Center Theater, NY. He currently lives in San Francisco Bay Area and teaches Tibetan songs, dances, Music, and Opera to the community through workshops and weekend classes, thereby helping preserve the unique cultural heritage of his land.

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  • Kurt Uy

    Kurt Uy

    Father

    Marin Theatre Company: Debut. OFF-BROADWAY: (Lincoln Center Theater). RECENT NEW YORK: (The Civilians); (Leviathan Lab); (Diverse City Theater); (Gorilla Rep). REGIONAL: (World Premiere, Triad Stage), (Shakespeare Theater Company); (Shakespeare & Co.); (Colorado Shakespeare Festival); (American Conservatory Theater). TV: Education: MFA: American Conservatory Theater; BA: Princeton University. OTHER: (Writer, Exec Producer; Asian American Film Lab 72 Hour Shootout 2013 Grand Prize Winner, Film Festival Flix May 2014 Winner, among others); (Writer, Actor, Exec. Producer; Official Selection Planet Connections Film Festival 2014, Outstanding Film nomination). Proud AEA Member. www.kurtuy.com

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  • Wayne Lee

    Wayne Lee

    Monk

    Wayne Lee is delighted to be making his Marin Theatre Company debut. SF/Bay Area (partial): Asian American Theater Company, Ferocious Lotus Theatre, Playwright’s Foundation, Bay Area Playwrights’ Festival, PlayGround, AlterTheater, Golden Thread Productions, Thick Description, New Conservatory Theatre, Willows Theatre, City Lights Theater Company, The Dean Lesher Regional Theatre. Regional: MAPLE AND VINE (Capital Stage Company, Sacramento); 007Q (the Wynn, Las Vegas, NV); MAPLE AND VINE (Merely Players/Durango Arts Center, Durango, CO) and the Sacramento Shakespeare Festival. TV/Film: FINDING ONE’S SELF and TALES FROM A CHINESE STUDIO(TTV, Taiwan). Mr. Lee holds an MFA in acting from UC Davis and is a member of AEA and SAG-AFTRA.

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  • Jinn S. Kim

    Jinn S. Kim

    Lama

    A member of NYC’s acclaimed LAByrinth Theater Company since 1995. In addition to acting, he served as the first official President. He is the Executive Director of Developing Artists Theater Company (a non-profit organization dedicated to providing students from culturally and socioeconomically diverse backgrounds the opportunity to proclaim themselves as artists and produces REBEL VERSES: Youth Arts Festival that brings various youth organization together to perform in front of an audience). Theater credits include: RACE, RELIGION & POLITICS by Stephen Adly Guirgis (co-starring Philip Seymour Hoffman); A WINTER PARTY by John Patrick Shanley; THE FAIRY TALE PROJECT (Public Theatre); disOriented (Peter Jay Sharp Theater) and RISE AND FALL OF A TEENAGE CYBERQUEEN (NYIT Award winner). Film and TV credits include: GRAVESEND, HURRICANE STREETS, OZ, LAW & ORDER: CRIMINAL INTENT, HOW TO MAKE IT IN AMERICA, POWER, 11:55 HOLYOKE and THREE GENERATIONS (soon to be released starring Susan Sarandon).

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  • Jed Parsario

    Jed Parsario

    Puppeteer

    Jed Parsario makes his Marin Theatre Company debut with OLDEST BOY. He was last seen in Marin Shakespeare Company's 2015 production of DON QUIXOTE (,) and CYMBELINE (). He has worked with TheatreWorks, San Jose Stage Company, Impact Theatre, BindleStiff Studio, Altarena Playhouse, Vallejo Shakespeare In The Parks, among other Bay Area theatres and Playwright organizations. He earned his BFA in Film at the Academy of Art University, San Francisco. Catch him next in OF SERPENTS AND SEASPRAY at Custom Made Theatre, January 2016. www.jedparsario.com

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  •  Melvign Badiola

    Melvign Badiola

    Puppeteer

    Melvign Badiola is thrilled to be making his Marin Theater Company debut with, He's a production manager, stage manager, teaching artist, film, industrial, and stage actor based in Oakland California. He's a resident artist at Bindlestiff Studio and also serves as Brava! Theater’s Production Manager and Youth Program Manager. He’s toured middle and high schools throughout California with NCTC's YouthAware Program. His work has been seen at SF Sketch Fest, SF Theater Fest, Young Playwright's Foundation, Bay Area One Acts, One Minute Play Festival, Each One Reach One, Pianofight, Intersection for the Arts, Palace of Fine Arts, California Academy of Science, A.C.T., & Magic Theater. Stage Management credits include Youth Speaks BNV (Berkeley & Atlanta), Mommy Queerest (Exit), Chasing Mehserle (Z Space), Tree City Legends (SF & Philadelphia), The Anastasio Project (NaKa), Spiritrials (Z Space). Film and Industrial Credits include VDA Tape 96, Prinsesa, Yahoo, San Francisco Police Department, and Geneva Car Barn Project. You can catch him at Magic Theater’s production of in February 2016.

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Creative Team

  • Jessica Thebus

    Director

    Jessica Thebus is an an Associate Professor of Theater at Northwestern University and directs the MFA Directing program. Last season she directed Buzzer by Tracey Scott Wilson at Goodman Theater where she has previously directed Sarah Ruhl’s Stage Kiss (world premiere) and also Rhul’s The Clean House. At Steppenwolf Theatre Company she has directed Sex with Strangers, Intimate Apparel, Dead Man’s Cell Phone, No Place Like Home, When the Messenger is Hot (also at 59 E. 59th in NYC) and Sonia Flew. Additional credits: Collected Stories (American Blues Theater—Jeff nomination), Welcome Home Jenny Sutter (Next Theatre); As You Like It (Oregon Shakespeare Festival); The Feast: an intimate Tempest (Chicago Shakespeare Theater with Redmoon Theater—Jeff nomination); Orlando (Court Theatre); Harriet Jacobs (Kansas City Rep); A Civil War Christmas (Huntington Theatre Company); Our Town–with Anna D. Shapiro, They All Fall Down, In The Garden (Lookingglass); Jekyll and Hyde, Inherit the Wind, Red Herring (Northlight Theatre); Eurydice (Victory Gardens); The Turn of the Screw (Writers’ Theater); and the world premiere of Welcome Home Jenny Sutter (The Oregon Shakespeare Festival and the Kennedy Center). Favorite projects: Pulp at About Face Theatre (Jefferson Award nomination—Best Director, After Dark Award—Best Production); Winesburg, Ohio also at About Face (Jeff nomination—Best Director, After Dark Award—Best Director); Ms. Thebus has also toured internationally with the Bread and Puppet Theater.

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  • 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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  • Collette Pollard

    Scenic Designer

    Collette Pollard resides in Chicago and is thrilled to be making her Marin Theatre Company debut. Originally from San Jose, CA, she moved 20 years ago to pursue scenic design and designs locally, regionally and internationally. Last fall Collette was the Jeff Award recipient for Best Scenic Design for In The Garden at Lookingglass Theatre, directed by Jessica Thebus. Recent Chicago credits include Head of Passes and To Kill a Mockingbird (Steppenwolf Theatre), The Happiest Song Plays Last and Fish Men (Goodman Theatre), Isaac’s Eye (Writers’ Theatre), The Illusion, (Joseph Jefferson Award Nomination for Best Scenic Design, Court Theatre). Collette is a Company Member at The House Theatre Company of Chicago where she has designed 20 plus productions, including Rose & the Rime, Death & Harry Houdini, The Nutcracker, The Sparrow and The Magnificents. Regional credits include A Minister’s Wife (San Jose Repertory Theatre), Geller Girls, Good People and The Fairytale Lives of Russian Girls (Alliance Theatre, all receiving Suzi Bass Award and Atlanta Fan Award Nominations), Harriet Jacobs and The Glass Menagerie (Kansas City Repertory Theatre). Collette received her MFA from Northwestern University where she currently co-teaches the Toy Theatre course with Jessica Thebus. She is an Artistic Associate at Timeline Theatre in Chicago where she recently designed Danny Casalaro, The How and the Why, Blood & Gifts and The Front Page which received a Joseph Jefferson Award for Best Scenic Design. www.collettepollard.com

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  • Fumiko Bielefeldt

    Costume Designer

    Fumiko Bielefeldt has designed costumes for MTC’s productions of The Convert, The Beauty Queen of Leenane, Othello, the Moor of Venice, Edward Albee’s Tiny Alice, Equivocation, What the Butler Saw, Lovers & Executioners, Frozen, Displaced, Fugitive Kind, Indiscretions and Candida. Other recent credits include The Soldier’s Tale and Miss Julie at Aurora Theatre Company; Silent Sky, The Little Women, Being Earnest, The Secret Garden, 33 Variations, Sense and Sensibility and Light in the Piazza at TheatreWorks; The Understudy at San Jose Rep; Evie’s Waltz at Magic Theatre; and Emma for Cincinnati Playhouse in the Park and the Repertory Theatre of St. Louis. Her designs have also appeared at A.C.T., Cal Shakes, Theatre of Yugen and Kansas City Repertory Theatre. In Japan, she has designed for Tokyo Theatre of Children and Tokyo Shitamachi Festival. Bielefeldt has received many awards, including Barbara Bladen Porter, San Franicsco Bay Area Theater Critics Circle, Dean Goodman Choice, Back Stage West Garland and Drama-Logue Awards.

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  • Jeff Rowlings

    Lighting Designer

    Jeff Rowlings is a San Francisco based designer, production manager and producer. He was Production Manager for American Conservatory Theater (2001-2012), Production Manager/Resident Designer for Magic Theatre (1985-1995) and Producing Director for San Diego REP (1996-1998). Jeff co-founded Foghouse Productions which produced Culture Clash Anthology in San Francisco and Los Angeles. Foghouse produced the commercial world premiere of R. Buckminster Fuller: The History (and Mystery) of the Universe in San Francisco, Chicago and Seattle. Back home in San Francisco, Jeff recently produced the world premiere of Brenda Wong Aoki’s MU, he designed and produced the world premiere of Liberty Bradford Mitchell’s The Pornographer’s Daughter and he designed and co-produced Fogg Theatre’s world premiere musical, The Cable Car Nymphomaniac. At Magic Theatre he designed lights for the west coast premiere of Sister Play and the world premiere of Arlington.

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  • Chris Houston

    Sound Design & Composer

    Chris Houston is a pianist, composer and sound designer. He has composed music and/or designed sound for 28 MTC productions, including The Convert, The Whale, Failure: A Love Story, August Wilson’s Fences, Jacob Marley’s Christmas Carol, The Whipping Man (co-production with Virginia Stage Company), Waiting for Godot, It’s a Wonderful Life: A Live Radio Play, Topdog/Underdog, Othello, the Moor of Venice, The Glass Menagerie, the world premiere of Bellwether, Seven Guitars, In the Red and Brown Water and more. Locally, his designs and compositions have been featured at A.C.T., Aurora Theatre Company, SF Playhouse, Center REP, Magic Theatre and the San Francisco Shakespeare Festival.

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  • Jesse Mooney-Bullock

    Puppet Design

    Jesse Mooney-Bullock describes his hand-carved puppets as performative sculpture, is honored to be working with Marin Theatre for the first time. He creates puppets of all sizes, from hand puppets to giant dragons (Hammer Trinity, The House Theatre of Chicago.) Other Chicago credits include The Jungle (Oracle Theatre), Compulsion (Next Theatre), The Feast: An Intimate Tempest (Chicago Shakespeare Theater, Jeff Nomination), Boneyard Prayer and Salao (Redmoon Theater, Jeff Award) and The Selfish Giant, A Kite’s Tale, Moby Dick and St. James Infirmary (Blair Thomas & Co.) Productions elsewhere featuring Mooney-Bullock’s puppets include The Little Prince (University of Idaho) and Carnival! (Papermill Playhouse, NJ.) He also performs his own solo puppet shows, his recent adaptation of Rikki Tikki Tavi was seen as part of the Chicago International Puppetry Festival and has toured Michigan and Cincinnati, where he lives with his wife and three children.

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  • Julie McCormick

    Dramaturg

    Julie McCormick s a freelance dramaturg and writing consultant who has worked with theaters across the Bay Area including Berkeley Repertory Theatre, Crowded Fire, Just Theater, Theatre First, and Bay Area Children’s Theatre. As the literary associate at Berkeley Rep, she dramaturged productions of Red, Vanya and Sonia and Masha and Spike, and Tribes; she has also worked on the world premieres of Lauren Gunderson’s Fire Work at Theatre First and Amelia Roper’s She Rode Horses Like the Stock Exchange at Crowded Fire. Julie was the 2011-2012 Peter Sloss Literary/Dramaturgy Fellow at Berkeley Rep, and she holds a B.A. from Carleton College.

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

Reviews

  • What if your child is a reincarnated lama?

    Even if you have as much trouble swallowing the notion of reincarnation as many of us (this critic, anyway) do, the remarkable Sarah Ruhl embeds it so naturally into the stagecraft of “The Oldest Boy” that it goes down as easily as theater’s standard willing suspension of disbelief. Ruhl has made us believe stranger things (an elevator to the Underworld, for example) in the past. Besides, what’s at issue in the magnetic West Coast premiere that opened Tuesday, Sept. 15, at Marin Theatre Company isn’t that belief but one young mother’s achingly real struggle between holding on to her young son and letting him go.

    It’s attachment parenting, in the modern vernacular, versus the ancient Buddhist tenet of relinquishing earthly attachments, that forms the central conflict in “Boy,” eloquently embodied in the deeply felt nuances of Christine Albright’s luminous performance as Mother and just as convincingly echoed by a solid Kurt Uy as the American woman’s Tibetan-born husband, Father. Ruhl, director Jessica Thebus and the very capable cast even make us comfortable with the idea that a lama could walk into your home and tell you your child belongs to a religious center on the other side of the world.

    — Robert Hurwitt, San Francisco Chronicle Read full review
  • Sarah Ruhl’s mama/lama drama at MTC touches the heart

    Most parents would like to believe their child is special, but maybe not so special that the child needs to be taken away because he or she is needed elsewhere. That’s the problem in Sarah Ruhl’s play “The Oldest Boy,” in which an American mother has to contend with the revelation that her 3-year-old son may be a reincarnated Tibetan lama.

    Marin Theatre Company’s West Coast premiere of this mama/lama drama arrives amid a season of Ruhl plays all around the Bay Area. Berkeley’s Shotgun Players is performing an excellent production of “Eurydice,” her dark and dreamlike father-daughter love story in the afterlife. In November, San Francisco Playhouse will present her romantic farce “Stage Kiss,” and next spring she returns to her longtime local artistic home Berkeley Repertory Theatre for the West Coast premiere of “For Peter Pan on Her 70th Birthday.”

    Opening MTC’s 49th season, “The Oldest Boy” is the company’s first Ruhl play, and it amply demonstrates why the Bay Area is so taken with the Brooklyn-based playwright’s work. It’s a lovely, touching and sometimes funny tale that explores many forms of love and connection.

    — Sam Hurwitt, Marin IJ Read full review
  • Marin Theatre Co. meditates on Ruhl’s poignant Boy

    The plays of Sarah Ruhl are mightily appealing in their intelligence, sensitivity, beauty and depth. From Dead Man’s Cell Phone to Eurydice (now at Shotgun Players) to In the Next Room, or the vibrator play, Ruhl makes the ordinary extraordinary and gives poetic voice to thoughtful, troubled lives that have a great deal to offer.

    At the heart of the story is a little boy, Tenzin, represented by a bunraku-style puppet operated by Tsering Dorjee (Bawa) (who also provides the choreography), who provides the voice, and Melvin Badiola and Jed Parsario, who give astonishing expression to his body (the fantastic puppet is by Jesse Mooney-Bullock). There wasn’t one moment in this two-hour play when I didn’t feel the reality of the child, even though he was an obvious theatrical contrivance. That has a lot to do with the artistry of the puppeteers, Ruhl’s script and Albright’s strong central performance.

    Director Jessica Thebus pulls nuanced, naturalistic performances from her actors, and that keeps the play grounded in reality, even when Ruhl stretches credibility in Act 2. We experience this story from the perspective of Mother, and Albright is a powerful focal point as we see her using her considerable intellectual abilities (she’s a literature professor, adjunct as she’d point out) to try and open up her spirituality and to the hardest thing a parent has to do: let go of a child. As she points out, “The cruel animal fact of motherhood is bigger than any idea.”

    The play and this stunning production never lose sight of that, and The Oldest Boy turns out to be one of the more moving theatrical experiences I’ve had for a while.

    — Chad Jones, Theater Dogs Read full review
  • THE OLDEST BOY is a mystical journey at Marin Theatre

    It is apparent that Bay Area theatre groups have a love affair with Sarah Ruhl and it seems that each season one or more of her plays is produced locally as well as at other venues on the West Coast. The most recent local production is the exceptional staging of her feminist take on the myth of Eurydice at Shotgun players. Two of her plays (In the Next room, or the vibrator play and The Clean House) were Pulitzer Prize finalists. Both of those plays, with the exception of the strange epilog for Next Room are written in classical linear Aristotelian format. However Ruhl constantly deviates from set formats challenging the intellect of her audiences. She does that again with the visually stunning West Coast premiere of The Oldest Boy by the adventurous Marin Theatre Company. This time she challenges us to believe or suspend belief in the Buddhist concept of reincarnation.

    The play is non-linear and uses a puppet to carry many of her thoughts. In doing so, she is able to depersonalize controversial concepts at the same time creating questions rather than answers. The mysticism starts early with a woman identified only as “Mother” (Christine Albright) is meditating facing the audience and abruptly turns away suggesting that the fourth wall has been broken. She is married to a Tibetan immigrant, again only noted as “Father” (Kurt Uy), and when two Buddhist monks appear at the door the assumption is they are there to see her husband. In actuality they are there to see her almost three year old son who may be a reincarnated lama.

    Where you may have questions concerning the play’s ability to present Buddhist beliefs there are only accolades for the entire handsome production, including the set (Collette Pollard), costuming (Fumiko Bielefeldt), choreography (Tsering Dorjee) and Jessica Thebus’ stylized direction. Christine Albright makes you feel Mother’s tumoil and is ably supported by Kurt Uy as Father. The quiet under-playing of the Monks (Wayne Lee and Jinn S. Kim) add verisimilitude to the evening and the puppeteers/dancers (Melvign Badiola and Jed Parsario) earn extra accolades.

    Marin Theatre’s production is a visual treat earning a strong four star rating.

    — For All Events, Kedar K. Adour, MD Read full review
  • Powerhouse MTC play is spiritual, mystical, soft

    Sarah Ruhl is like an artistic octopus, with each tentacle separately reaching into new and unchartered waters.

    And she seems to evolve exponentially with each play she writes.

    Since she’s barely snapped the 40-year mark, I can’t imagine how good she’ll be at 60.

    Each of her dramas utilizes a different voice and unconventional characters unlikely to be sitting in my living room or yours.

    But she repeatedly sprinkles in humor to leaven the heaviness of whatever subject matter she’s tackling.

    — Woody Weingarten. Marinscope Read full review

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