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Mr. Burns 
by Anne Washburn

October 2 – 6
7:30 p.m. Wed.- Sat., 2:00 p.m. Sat. and Sun.
Greer Garson Theatre / Owen Arts Center

After the collapse of civilization, a group of survivors share a campfire and begin to piece together the plot of The Simpsons episode “Cape Feare” entirely from memory. Seven years later, this and other snippets of pop culture (sitcom plots, commercials, jingles and pop songs) have become the live entertainment of a post-apocalyptic society, sincerely trying to hold onto its past. Seventy-five years later, these are the myths and legends from which new forms of performance are created. A paean to live theater, and the resilience of Bart Simpson through the ages, Mr. Burns is an animated exploration of how the pop culture of one era might evolve into the mythology of another.

Constellations
by  Nick Payne

October 23 – 27
7:30 p.m. Wed.- Sat, 2:00 p.m. Sat. and Sun.
Margo Jones Theatre / Owen Arts Center

One relationship. Infinite possibilities. In the beginning Marianne and Roland meet at a party. They go for a drink, or perhaps they don't. They fall madly in love and start dating, but eventually they break up. After a chance encounter in a supermarket, they get back together, or maybe they run into each other, and Marianne reveals that she's now engaged to someone else and that's that. Or perhaps Roland is engaged. Maybe they get married, or maybe their time together will be tragically short.

The Servant of Two Masters
by Carlo Goldoni

December 4 – 8
7:30 p.m. Wed.- Sat., 2:00 p.m. Sat. and Sun.
Greer Garson Theatre / Owen Arts Center

The play tells the story of a hungry servant who, upon realizing that working for two masters could ensure him a greater supply of food, tries to do the job of two men while working desperately to conceal that fact from both employers. The play’s most famous scene takes place during a feast, when a starving Truffaldino attempts to serve dinner to both his masters’ companies at the same time, without either group finding out (and desperately trying to have his own dinner as well!). A zany plot featuring lost love, mistaken identity, ravenous servants and lots of letter mix-ups!

Blood Wedding
by Federico  García Lorca

February 26 – March 2
7:30 p.m. Wed.- Sat., 2:00 p.m. Sat. and Sun.
Greer Garson Theatre / Owen Arts Center

Two families in a semi-mythical rural Spain are intricately bound in an unspeakable cycle of murder and revenge. The death-bound love triangle at the center of the play fuels these passions to a fever pitch and propels the story to its unstoppable tragic conclusion. An arranged country marriage between the children of rich landowners is about to take place. A past lover, himself in a loveless marriage, cannot allow the wedding to take place and spirits the bride away, who goes with him willingly on her wedding night. An entire town goes after the lovers in the middle of the night where pursuers and pursued plunge into a realm of deep darkness where the moonlight in not friendly and the forest not shelter enough. Lorca’s image-laden poetry unfolds the story with the fire and power characteristic of his work and the fateful resonance that marked his own tragically short life.

The Rep: Three Contemporary American Plays Performed in Rotation

April 24 – May 3
7:30 p.m. Thurs. - Sat.; 2:00 p.m. Sat. and Sun.
Greer Garson Theatre / Owen Arts Center

• April 24 and May 2 (7:30 p.m.), May 3 (2:00 p.m.)
  John Proctor is the Villain by Kimberly Belflower
  
  At a rural high school in Georgia, a group of lively teens are studying The Crucible while navigating young love, sex education and a few school scandals. Holding a contemporary lens to the American classic, they begin to question who is really the hero and what is the truth, discovering their own power in the process. Alternately touching and bitingly funny, this new comedy captures a generation in mid-transformation, running on pop music, optimism, and fury, writing their own coming of age story.
  
  
• April 25 and May 3 (7:30 p.m.), April 26 (2:00 p.m.)
  Everybody by Brandon Jacobs-Jenkins
  
  This modern riff on the fifteenth-century morality play Everyman follows Everybody (chosen from amongst the cast by lottery at each performance) as they journey through life’s greatest mystery — the meaning of living.
  
  
• April 26 and May 1 (7:30 p.m.), April 27 (2:00 p.m.)
  In Arabia We’d All Be Kings by Stephen Adly Guirgis
  
  Lenny is a recently released ex-convict. Despite his imposing size, he was gang-raped repeatedly while incarcerated and struggles to find his manhood on the outside. Daisy, his alcoholic girlfriend, carves a “real” life with a “real” man and abandons him at a seedy pre-Giuliani Times Square bar in pursuit of some cheap Chinese takeout. At the bar is Skank, a former failed actors turned junkie, who is trying to outlast the rainstorm and get a buyback from the long-missing Irish bartender as he begins to go through withdrawals. Also at the bar is Sammy, an old, dying, guilt-ridden drunk who exists somewhere between reality and the afterlife. DeMaris, a 17-year-old gun brandishing single mother, wants to learn to turn tricks. She enlists the aid of Chickie, Skank’s girlfriend, a young crackhead hooker who plays Go Fish with the simpleminded day bartender Charlie, who thinks he’s a Jedi warrior and who buys meals for Chickie because he loves her and because he lives for the day they can go out, “just as friends.” The owner of the bar is Jake. The place was his fathers before him, and after 30 years, he longs for the chance to leave “this sewer” for a reinvented life in Florida. The real-estate boom, “gentrification” and the emergence of Disney in Times Square affords him that opportunity. Unaware that their last piece of home is about to be pulled out from under them, the bar patrons struggle on. Their sense of humor, their misguided hopes and dreams, and their lack of self-pity are badges that are tattooed to their souls. They will all, before the end, demand and take the chance to face head-on their complicated and sad truths.