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Tuesday, Aug 11th 7pm


A play by John Keegan


Gary is a divorced car accessories salesman living with his girlfriend Rae in a cheap walkup apartment in Seattle.  He’s lost visitation rights with his eighteen year old daughter because of a felony conviction and Rae wants them to get married so they can have a child of their own.  When Gary’s car is stripped clean of his expensive car gadgets in the dead of night, his girlfriend insists they solve the matter without going to the police.  Gary reluctantly goes along with what he thinks is an exercise in futility.  Using the number for “Mom” she finds on the phone left in the car, Rae arranges for a meeting with the parents of the suspected thief.  Personal histories, race and religion play havoc when Jordan and Alyssa, the highly educated black Muslim parents from the affluent Seward Park neighborhood, meet Gary and Rae, the struggling salesman and barista.


About John Keegan:

John is a native of Spokane and a Seattle attorney with the firm of Davis Wright Tremaine.  He graduated from Gonzaga University and Harvard Law School and previously served as counsel to the Department of Housing and Urban Development in Washington, D.C., as a King County Prosecuting Attorney, and taught courses in law and creative writing at the University of Washington.  In addition to his plays Duplex, The Old Man’s Last Stand, Black Jesus, Putting Down the Cat, and others, he has published what he says are his intentionally “non-legal” novels Clearwater Summer (named a “Best Book” by the New York Public Library), Piper and A Good Divorce (Independent Bookseller Recommendation).  He is a member of the Board of Trustees for Seattle Repertory Theatre, the Author’s Guild, the Dramatists Guild and the Seattle Playwrights Circle (formerly Seattle Playwrights Collective).


About the Director, Emma Watt:

Emma Watt has previously directed other NPA staged readings at Seattle Rep.  As director, her projects include Death and the Maiden (Latino Theatre Projects), Paper and Ink (Live Girls! Theatre), Time Stands Still, Little Red’s Wild Ride (Princeton Summer Theatre), The Baltimore Waltz, The Pavilion (Theatre Intime), and The Tempest (Exeter Shakespeare Society).  Behind the scenes, Emma has worked with Seattle Opera, Seattle Repertory Theatre, Princeton Summer Theatre, Theatre Intime, and McCarter Theatre Center.


About the Cast:


Played by Emily Chisholm, whose credits include Outside Mullingar and Pullman Porter Blues (Seattle Repertory Theatre), Flick (New Century Theatre Company), and Bethany (Gregory Nomination for Outstanding Actress) and Sugar Daddies (at ACT).  Emily is a company member of New Century Theatre Company at 12th Ave Arts and a graduate of Cornish College of the Arts.



Played by Eric Riedman, whose credits include The Glass Menagerie (Seattle Repertory Theatre), The Art of Racing in the Rain (Book-It Rep), A Single Shard (Seattle Children’s Theatre), A Lie of the Mind (ACT), The Violet Hour (Seattle Public Theatre), and Sherlock Holmes . . . (Taproot Theatre).  National film and television credits include: NBC’s “Grimm,” TNT’s “Leverage,” and Disney’s “10 Things I Hate About You.”



Played by Corey Spruill, whose credits in Seattle include The Best of Enemies (Taproot Theatre), Merchant of Venice (Quiet Theatre), Zooman and the Sign (BrownBox Theatre), Doggs Hamlet/Cahoots Macbeth (Sound Theatre) and A Beheading in Spokane (Theater Schmeater).  Corey holds a BFA in Theatre from VCU.


Played by Dedra Woods, whose credits include We Are Proud to Present, a Presentation About the Herero of Namibia (Pony World Theatre) and Intimate Apparel (Artists Rep in Portland).  Dedra also read the role of ALYSSA in a staged reading of an earlier version of this play (Car Toys at Elliott Bay Bookstore).



Geoffrey S. Proehl, who generously provided dramaturgical input for this play, teaches, dramaturgs and directs at the University of Puget Sound and previously chaired the graduate studies program in theatre arts at Villanova University.  He holds an MFA in directing from Wayne State University and a PhD in directing and dramatic criticism from Stanford University.  He is the author of Coming Home Again: American Family Drama and the Figure of the Prodigal; Toward a Dramaturgical Sensibility; and Dramaturgy in American Theater: A Source  Book.