an evening of 10 minute plays

The theme offered to playwrights in this category is “The good, bad and ugly” thus, these plays are meant to “explore humanity’s best and worst players.” [Read more...]

Is there a friend you would be willing to die for if they asked you to make this ultimate sacrifice? And in exchange would they be willing to take on all the guilt you carry for people you have hurt and wrongs you have committed? Such questions sound like something out of Dickens or the Bible but they emerged tonight at the Source. [Read more...]

We have nothing in our lives as valuable or as vulnerable as our children, and for many parents their children’s youth is a nightmare of fragility. Their kids are at any moment potential prey to disease, to accident, to their own bad choices and, increasingly in our sad age, to slimy predators whose very existence is an insult to their Creator. [Read more...]

It’s uncanny when an actor comes on stage and tells you exactly what will happen when you leave the theater that evening. Then again, lots of things about This is Not A Time Bomb are unsettling.

It begins when Edward Daniels tells us we will probably leave the theater and have a conversation, but what will take place is simply a story. [Read more...]

The house is set so that the light gauze draping the stage invades the seats of the audience, merging the audience and stage without distinction.  Thus begins Memoria Brassica, an inquisitive experimental piece in which printing, spoken words, and dance unite to form an artistic installment of how memory [Read more...]

“Artistic Blind Dates” is the perfect title for the shows on view at the Source Festival this week: organizers invited three creators – from music, theater and dance – to make something in three months. They had never worked together before and were not even familiar with the other artists’ productions. [Read more...]

A play works best when it opens a secret box, and thus illuminates the world and ourselves. A ten-minute play does all of that in ten minutes. When it works, it’s powerful theater.

Zanzele Cooper and Jamell Carter in Saddam's Lions (Photo: C. Stanley Photography)

It certainly works in Jacob Juntunen’s Saddam’s Lions, where you will guess the secret in the first thirty seconds but where the box which contains it will remain unopened, contents too horrible to contemplate, for the whole of the play. [Read more...]