Being Thankful

Ok, this is a bit late for Thanksgiving, yet I believe one should be thankful all the time. I also believe in being thankful for the past as much as for what the future has yet to bring. Inspired by The Producer’s Perspective post 7 Theater things I’m thankful for this Thanksgiving, here are six of mine:

  1. The Gene Pool. A show on the bucket list, a dream cast, and mostly positive reviews made this an excellent way to kick-off Arouet’s first year.
  2. ACT, A Contemporary Theatre. Their support to the local theatre community as not only producers of locally cast professional shows, but as an incubator for smaller companies and independent artists has turned them into a model other regional companies across the country are following.
  3. The Economy. As odd as it might sound, I believe the current economic climate has forced us to reevaluate how we do theater and to become more creative with less financial resources. People will go out to the theatre, they are just more particular about what they go to see.
  4. Seattle Theatre: What’s Next. Brought together by the Intiman implosion and the economy, Seattle theatre artists have come together to meet, discuss, and come up with an action plan on what we need to do as a community.
  5. Friendly Theatre Venues. Seattle is full of them, and for that I am grateful. I loved working with the excellent folks at Annex Theatre so much that I raved about them earlier this year, and so far dealing with Ghostlight Theatricals/The Ballard Underground has been quite easy. They are not just a venue to rent, they make you feel like part of the bigger picture.
  6. Opportunities Yet to Come. The year ahead is full of possibilities and new opportunities. Arouet is producing it’s most ambitious project in The House of Bernarda Alba followed by the premiere production of a new play BBQ, personally I am involved in various capacities in four different theatre companies, and I don’t know yet what other directing gigs could come my way. It’s going to be an eventful one.

What’s Next

After reassessing the play originally planned for the spring of 2012, it was decided to move up the production originally planned for the spring of 2013.

The House of Bernarda Alba, by Federico García Lorca, directed by Charles Waxberg, will play at The Ballard Underground from May 4 through the 19th, 2012. Auditions will take place in late February, 2012.

Lorca’s final masterpiece, The House of Bernarda Alba, centers on Bernarda as she tyrannically rules over her house and five daughters, cruelly crushing their hopes and needs. The play explores themes of suppressed sexuality, passion, and the oppression of women.

The idea that love will find a way, regardless of the restrictions put upon it, is timeless. Having seen the play several times and two magnificent dance productions years ago in Costa Rica, and seeing that it hasn’t been produced, to my knowledge, in the Seattle area for a very long time made it a natural choice for me. The next decision was who would direct? As much appreciation as I have for the play, I knew it needed the touch of a master. I am ecstatic that Charles Waxberg, my friend and mentor, agreed to direct with me as his assistant.

So now on to finalize the license agreement, raise some money, and put on a show!

The House of Bernarda Alba

The House of Bernarda Alba posterThe House of Bernarda Alba
(La Casa de Bernarda Alba)
by Federico García Lorca
adapted in English by Emily Mann
May 4-19, 2012

At the outbreak of the Spanish Civil War in 1936, Federico Garcia Lorca finished what would be his final masterpiece, The House of Bernarda Alba. Two months later he was killed for his leftist politics.

After the death of her second husband, Bernarda Alba decrees a traditional eight-year mourning period. Tyranically ruling over her five daughters, she will do anything to safeguard her family’s place in the community and daughter’s futures. Jealousy and suppressed sexuality quickly rise to the surface, leading to rebellion and a tragically inevitable ending. Expressing the costs of repressing the freedom of others, 75 years later The House of Bernarda Alba is still a timeless work, particularly in today’s political climate.

Meet the Cast and Crew of “The House of Bernarda Alba”

Take a look at the rehearsal and production galleries.

What the critics had to say: Review Roundup

Performance Location

The Ballard Underground
2220 NW Market Street
Seattle, WA 98107



Festival Seating

  • General Admission: $15 advance purchase/$18 at the door
  • Student: $12 advance purchase/$15 at the door
  • Senior: $12 advance purchase/$15 at the door

Premium Seating

Do something special! There are four Premium Tickets per performance. Premium Tickets include:

  • Reserved seating
  • Priority entrance
  • A drink tickets
  • Available only at brownpapertickets.
  • Each Premium Ticket is only $50

Advance/credit card purchase tickets available at Brown Paper Tickets.

Rush Tickets

$10 at the door, sold five minutes prior to showtime, depending on availability. Rush Ticket availability is not guaranteed; tickets sold on a first-come, first served basis. Cash only.

* Premium Seating: Four tickets will be available for each performance at this price. Premium Seating includes reserved seating, priority admission, and a drink ticket.


For reservations, email or call (425) 298-3852. Please note, cash and check at the door only. Reservations are held until 5 minutes prior to showtime.

Special Thanks To…

The House Of Bernarda Alba is possible thanks to our successful Kickstarter campaign. We would really like to thank our backers!

In-kind support provided by Otak, Inc.

Otak Hanmi Global

Making a Change

Sometimes you’ve got to look at what you’ve got with a critical eye and make a tough decision.

I have been intrigued by La Segua since I was a growing up in Costa Rica. I had always been drawn to the folk tale, which translated into a fascination with the play. I was too young to see the original – and only – production, and for whatever reason I didn’t get around to seeing the movie. My infatuation grew with time, and it became one of my goals to share this Costarican tale with American audiences. There is no English translation of La Segua, so I set out to translate the play myself.

The translation process brought me closer to the play than ever, and I realized that a direct translation would not work for the current sensibilities of an American audience. The amount of work and adaptation that needs to go into it extends beyond the translation. While I was mindful of the legacy of don Alberto Cañas and respectful of his vision, the truth is that the play has to be marketable and accessible. When I put it on stage, I want it to be something I believe in. If it’s a flop it’s a flop, and so be it. I don’t want to just throw it out there because I want to do it, and not have a show I feel is solid and ready to be seen.

For now, La Segua is on hiatus. I will continue to develop the script, finding a playwright to help me get it just right. There will be a reading of the current play as it is to give us an idea of what we have. It is different for me when I see to a play rather than just read it. Keep your eyes open for the reading of La Segua sometime in the spring of 2012, I would love your feedback.

In it’s place will be another one of the plays that shaped my appreciation for theatre as a youth. We have a space, we have a play, and we have a director. Stay tuned, there will be full announcement next week.