2011-2012 HPT Season
Marion Bridge
by Daniel MacIvor
September 8 - October 8, 2011
From the author of HPT fave House: an actress who does Chekhov in Toronto basements and drinks too much; a nun who disapproves of big-city talk like "Whatever"; and their peculiar, soap-opera-watching youngest sister. In this bittersweet comedy, three women reluctantly come together over their mother's deathbed. This production reunites the original director and cast of our acclaimed 2002 production, which earned Austin Circle of Theatres (now Austin Creative Alliance) Payne Award nominations for Ken Webster as director and for Emily Erington, Kelsey Kling, and Rebecca Robinson for Outstanding Cast. Rights pending.
FronteraFest 2012
January 17 - February 18, 2012
The nineteenth season of this renowned five-week, city-wide, unjuried fringe festival featuring over 800 local and national artists annually. The Short Fringe, the Long Fringe, Mi Casa Es Su Teatro--all as unpredictable as ever.
FronteraFest is produced in collaboration with Script Works, a group dedicated to supporting emerging playwrights and developing new dramatic works.
The Aliens
by Annie Baker
March 22 - April 21, 2012
Annie Baker, the finest young American playwright and author of the 2010 HPT hits Body Awareness and Circle Mirror Transformation, weaves an extraordinary evening from a simple tale of three young slackers talking behind a coffeehouse. The New York Times called it "Gentle and extraordinarily beautiful." This play shared the 2010 Obie Award with Circle Mirror Transformation.
Tigers Be Still
by Kim Rosenstock
July 12 - August 11, 2012
The San Francisco Chronicle called it "an uproar of laughs." The New York Times called this off-Broadway hit "an endearing new play . . a heartfelt comedy" in which a big cat on the loose from a local zoo fits right in with the anxiety and depression of modern life.
Middletown
by Will Eno
September 20 - October 20, 2012
An OurTown-inspired piece from the author of HPT's award-winning production of Thom Pain (based on nothing). Last fall, the New York Times praised the play's "screwball lyricism. . . delicate, moving and wry."
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