06/07 Season
March 16 - April 1
Studio Theatre at the Rose
| MARCH 2007 |
| SUN |
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TUE |
WED |
THU |
FRI |
SAT |
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16
8pm |
17
8pm |
18
2pm |
19
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20
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21
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22
8pm |
23
8pm |
24
8pm |
25
2pm |
26
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27
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28
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29
8pm |
30
8pm |
31
8pm |
| APRIL 2007 |
32
2pm |
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Listen to KUER's "RadioWest" Interview Here
Click Here for the Rave Review in The Salt Lake Tribune
Click Here for the Rave Review in the Deseret Morning News
Click Here for the Rave Review in the Salt Lake City Weekly
Click Here for the Rave Review in In Utah This Week
Originally staged in 1997 (one year after the Salt Lake School Board banned all student clubs), THE ALIENATION EFFEKT is a satirical peek at the people and politics behind Utah's ongoing high school gay clubs debate. The debate continues as THE ALIENATION EFFEKT returns for a 10th anniversary production.
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THE ALIENATION EFFEKT features Teri Cowan (AEA, Plan-B's AMERIKA), Stephanie Howell (AEA, Plan-B's SLAM, BASH: LATTERDAY PLAYS), Colleen Lewis (AEA, Plan-B's SLAM, PATIENT A), Teresa Sanderson (Plan-B's SLAM, ANIMAL FARM, TRAGEDY: A TRAGEDY), Stacy Sobieski (Plan-B's SLAM) and Plan-B newcomers Mark Fossen and Mark Gollaher (AEA). Also featuring Jay Perry (Plan-B's TRAGEDY: A TRAGEDY, SLAM, RADIO HOUR (2), FACING EAST) on guitar.
STATEMENT FROM THE PLAYWRIGHT:
The debate has changed somewhat from when THE ALIENATION EFFEKT premiered in 1997. The story explores how a Utah senator could get a bill passed to allow all clubs into high schools, and then how that same senator could turn around ten years later and want to deny a group the use of the very law he wrote. It was a local event in 1997. It seemed to be a Utah phenomenon.
Jump ahead nine years and the anti-gay club debate continues to make headlines in Utah, but now it is only one of many confrontations throughout the country of “Christians” attempting to limit an individual’s right to self-expression. The local problem is now a national epidemic. THE ALIENATION EFFEKT addresses the micro and the macro at the same time. Governments are created and ruled by the majority, but must carry out their duty to protect the minority—even if that minority numbers only one.
Stylistically, THE ALIENATION EFFEKT was given its unique title as a reference to Bertolt Brecht’s theatrical theory of the “alienation effect,” which he developed in the 1930s and 40s. His goal was to engage audiences intellectually rather than emotionally, to get them to judge characters rather than feel for them. In order to "alienate" the audience emotionally, Brecht did everything he could to remind them that they were watching a play and not peering through a chink into the lives of distant beings. Signs announcing the titles of scenes, characters addressing the audience directly, actors singing in third person about the characters they were playing were some techniques Brecht used, and appear throughout THE ALIENATION EFFEKT. - Tobin Atkinson, Playwright
| Director/Playwright: |
Tobin Atkinson |
| Musical Director: |
Penelope Caywood |
| Stage Manager: |
Jennifer Freed (AEA ) |
| Costume Designer: |
Jaquelin Cintura Bryce |
| Lighting Designer: |
Cory Thorell |
| Set Designer: |
Randy Rasmussen |
| Projections Designer: |
Cheryl Ann Cluff |
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