In Year Two, the Women's Theatre Festival Improves Its Occupy the Stage Marathon, Putting Up Several Staged Readings We Want to See Fully Produced | Theater | Indy Week
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In Year Two, the Women's Theatre Festival Improves Its Occupy the Stage Marathon, Putting Up Several Staged Readings We Want to See Fully Produced 

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In the earliest hours of the 2017 Women's Theatre Festival, it was already apparent that script selection and production choices had been upgraded after last year's inaugural run. For one, the festival redefined Occupy the Stage, previously a continuous twenty-four-hour showcase of staged readings, as two identical programs staged twelve hours apart, giving us the chance to see more of them. And many were well worth seeing—professional-quality scripts worthy of full productions. In light of Space Girl's graduation to the main stage after its Occupy reading last year, here are several shows from this year's lineup we'd like to see again:

Shut Up, I'm On A Diet!: Under Lorelei Lemon's direction, playwright Catherine Weingarten's irreverent, cinematic farce seemed like a feminist twist on Wes Anderson. Conniving but charming California teen Tess (Anna Broadway) is driven to a sketchy eating-disorder clinic by her equally sketchy dad (a convincing Allan Maule). The deft social satire hits its bull's-eyes—trendy tech and pop psychology—as Tess manipulates a clueless intern (a rewarding Matthew Tucker) and her straitlaced roomie (a believable Rosemary Takacs).

He/She and Me: Janet Boudreau's warm, affecting one-woman show, written by Sharon Mathis and directed by Carolyn German, follows a character named Pat through prismatic changes as her longtime husband, Sam, undergoes a gender transition.

_____ Is a Rapist: Rebekah Boroughs and Lindsay Carpenter's absolutely remarkable script lets us approach two sexual assaults—one in the present, the other the historical tale of outdoor pioneer Emma Gatewood—with something totally unexpected: hope. Sensitive direction by Savannah Core and nuanced, authentic performances by Molly Winstead and Judy McCord clinch it. This must be staged again.

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this looks like they conflated sexual orientation with the astrological 7th house :)

by theseatree on Theatre Raleigh's Stellar Significant Other Puts the Perils of Being the "Gay Best Friend" on Blast (Theater)

these people are a bunch a weirdos. and that's what we like about them.
i like a a performance …

by Geoff Dunkak on With The Changeling, Jaybird O'Berski Runs Amok Through a Quintessentially Problematic Seventeenth-Century Script and Leaves Us to Figure Out What to Make of It (Theater)

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this looks like they conflated sexual orientation with the astrological 7th house :)

by theseatree on Theatre Raleigh's Stellar Significant Other Puts the Perils of Being the "Gay Best Friend" on Blast (Theater)

these people are a bunch a weirdos. and that's what we like about them.
i like a a performance …

by Geoff Dunkak on With The Changeling, Jaybird O'Berski Runs Amok Through a Quintessentially Problematic Seventeenth-Century Script and Leaves Us to Figure Out What to Make of It (Theater)

Point well taken. I wish more people had seen HE/SHE AND ME at The Womens' Theatre Festival, an intriguing original …

by Jerry Sipp on Plays About LGBTQ History Are Plentiful in the Triangle. We Need Them All. But Isn’t It Time to Look Ahead? (Theater)

Quite an insightful assessment. I believe Mr. Britt has many strong points. In order for North Carolinas theaters to successfully …

by nperry on Plays About LGBTQ History Are Plentiful in the Triangle. We Need Them All. But Isn’t It Time to Look Ahead? (Theater)

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