Tomorrow Come Today

After several years mostly away from the theatre, Tomorrow Come Today, a play I wrote last summer is being produced next month at the Undermain Theatre in Dallas. I’m especially happy about this for two different reasons – the first being that Undermain is an awesome theatre with a 30 year (!) track record of doing groundbreaking plays. Undermain was a main player in the RAT movement of small theatres in the 90’s, and has a past-production list of plays to rival anyone theatre in the country (of any size). They’re in for the long haul, which is especially nice in an art form that’s so often written on the wind. The rest of their season looks great too – I saw the ‘controversial’ production of The Flick in NYC (with the excellent Matt Maher) – and I recommend that anyone anywhere near Dallas make time to see a show.

The second reason I’m especially psyched is that my play was actually written in Texas, on a 10-day silent retreat organized by Pataphysics, and led by Erik Ehn. Erik’s work as a playwright and an educator are well known, but his sideline in crafting writing retreats – a complicated creation of environment management, both mental and physical, as well as over time. That I had finished the play I had, at the end of 10 days, was entirely due to the specifics of that experience, which has a great deal to do with what Erik threw at me.

Lastly, I’m psyched because for the most part Tomorrow Come Today is a piece of science fiction, and the American theatre is pretty skittish about what it considers genre. Since I can’t for the life of me see how one separates the ideas and experience of science fiction from, for example, reading the front page of the New York Times, this again seems like improvement.

Undermain’s main page on the play, and an in-house essay by Drew Hasson touching on the issues raised in the play.

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