Sleepwalkers Theatre continues its second season of presenting progressive new works with MARCH TO NOVEMBER, written and directed by Sleepwalkers co-founder Tore Ingersoll-Thorp. Tim Biglow, Drew Lanning, Maggie McCally, and Ian Riley star in MARCH TO NOVEMBER, playing October 23 through November 8 (Press Opening: Friday, October 24) at the Phoenix Theatre (414 Mason at Geary) in San Francisco. For tickets ($14) and information, the public may call 415-814-3944 or visit sleepwalkerstheatre.com.
Is theatre better when it is therapy, not agit prop? Is it better when it presents a struggle of feelings, not a struggle of agendas? With the upcoming election as a backdrop, MARCH TO NOVEMBER is an examination of one artist’s search to find political responsibility in her work. Inspired by SF Weekly theatre critic Chloe Veltman’s January 9, 2008 article entitled “Election Stage Left,” which challenged Bay Area playwrights and theatre companies to create more “political” works, Sleepwalkers answers the call to arms with a classic hero story that assesses the relevance of overtly political theatre.
Tore Ingersoll–Thorp has acted, directed, and produced theatre in New York and San Francisco for over 10 years. MARCH TO NOVEMBER is the second play he’s penned and he is proud to have written both exclusively for Sleepwalkers Theatre, the company he co-founded with two dudes in a Chinatown bar. Favorite collaborations include everything he's ever done with playwrights David Ackerman, John Rosenberg, Will Marchetti, Ryan Beebe, and Ryan Michael Teller. Writers are his favorite people.
Comprised of Tore Ingersoll-Thorp, Damian Lanahan-Kalish, Ian Riley, and Jennifer Heller, Sleepwalkers Theatre seeks to produce new works aimed towards gaining fresh perspectives on the human experience, presenting works inspired by people and subjects that are important and relevant to generation now. With an emphasis on creating theatre that is vital and cutting edge, the company fosters new works and seeks out first time playwrights, with the goal of changing the way audiences relate to theatre as a live art form.
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