Winner of the National New Play Network’s 2016 Smith Prize for Political Theatre, this site-specific premiere brings us to Tavistown, New York, where a recent tragedy has rocked the community to its core. Narrator and town historian, Zoe, recounts the days leading up to the incident, as the high school prepares for the semi-annual production of Thornton Wilder’s Our Town. The National New Play Network Rolling World Premiere of Jennifer Barclay’s Ripe Frenzy is a stunning new play about community in the wake of unspeakable devastation.
Ripe Frenzy is produced at New Repertory Theatre as a part of a National New Play Network Rolling World Premiere. Other partnering theaters are Synchronicity Theatre (Atlanta, GA) and Greenway Court Theatre (Los Angeles, CA). For more information please visit www.nnpn.org.
Studio ONE | Boston University
855 Commonwealth Ave, Boston
Take the Green Line (B) to Boston University West
Closest parking: Agganis Arena (click here for details)
Patrons requiring accessible seating should inform the Box Office staff when ordering tickets. The building is equipped with wheelchair-accessible restrooms on each floor. Patrons who will be bringing guide dogs to the theater should advise the Box Office staff when ordering tickets.
STATEMENTS OF SURVIVAL SERIES
Unveiled | Statements after an Arrest under the Immorality Act | Lonely Planet | Ripe Frenzy
Reilly Anspaugh makes her Boston Center for American Performance and New Repertory Theatre debut. Recent area credits include Talley & Son, Our Town, and Mad Forest (Boston University School of Theatre). An improviser and comedy writer, she can be seen performing improv with Spontaneous Combustion, as well as writing for and performing with HeadGum’s Jake and Amir in their YouTube sketch series. She is a BFA Acting candidate in her final semester at Boston University School of Theatre. She holds a certificate in Classical Acting from the London Academy of Music and Dramatic Art, having studied Shakespeare and Restoration Comedy. In March, Reilly will complete her Senior Acting Thesis.
Veronika Duerr makes her Boston Center for American Performance and New Repertory Theatre debut. Recent credits include Men On Boats (SpeakEasy Stage Company); Going to See the Kid, 45 Plays for 45 Presidents, and Home of the Brave (Merrimack Repertory Theatre). Regional credits includes BOB: A Life in Five Acts (GEVA Theatre); The Tall Girls and Spoonlake Blues (Alliance Theatre); Twelfth Night, Romeo and Juliet, and Cymbeline (Atlanta Shakespeare Company); and Venus in Fur (Actor’s Express). Veronika received an MFA from Savannah College of Art and Design. Originally from Atlanta, she currently resides in Lowell. Upcoming projects include a public reading of her one woman show Glockenspeilbavariasexpartygoodbye in May (Central Square Theater) and the birth of her daughter in June.
Stacy Fischer makes her Boston Center for American Performance debut and returns to New Repertory Theatre after performing in A Christmas Carol, Fool For Love, Picasso at the Lapin Agile, and My Name is Rachel Corrie. Recent Boston area credits include Franklin (Boston Playwrights’ Theatre); Miss Julie, The Kritik, and The River (Harbor Stage Company); Luna Gale (Greater Boston Stage Company); and Necessary Monsters (SpeakEasy Stage Company). Stacy has performed in numerous theatres in the Boston area including Central Square Theater, Gloucester Stage, Huntington Theatre Company, Lyric Stage Company, North Shore Music Theatre, and Wellfleet Harbor Actors Theater. She is the recipient of an Elliot Norton Award for Best Actress for her role in Hysteria (Nora Theatre). Stacy is a graduate of Emerson College, and is a founding member of Harbor Stage Company in Wellfleet, MA.
Henry B. Gardner makes his Boston Center for American Performance and New Repertory Theatre debut. Boston credits include Las Meninas (Boston University). Off-Broadway credits include The Last Days of Vincent Van Gogh (Chernuchin Theatre). Regional credits include Twelfth Night (Colonial Theatre, RI); and Into the Woods (Oscar Schindler Performing Arts Center, NJ). Henry was born and raised in West Orange, NJ and has trained at the Stella Adler Conservatory in New York City. He currently lives in Boston while he is pursuing a BFA in Acting from Boston University.
Samantha Richert makes her Boston Center for American Performance debut and returns to New Repertory Theatre after designing fight choreography for Scenes from an Adultery. Boston credits include Hold These Truths, City of Angels, and Becky’s New Car (Lyric Stage Company); Elemeno Pea (Boston Playwrights’ Theatre); The Tempest (Actors’ Shakespeare Project); Lucky Stiff (Greater Boston Stage Company); Ryan Landry’s ‘M’ (Huntington Theatre Company); Jesus Christ It’s Christmas!, and Snow White and the Seven Bottoms (Gold Dust Orphans); and The How and the Why (Nora Theatre). Samantha is an adjunct faculty member in the Northeastern University Theatre Department, and has taught acting and stage combat workshops for Greater Boston Stage’s Young Company, Wheelock Family Theatre, North Shore Music Theatre, Newton North and South High Schools, and Canton High School. She has also choreographed fights for Greater Boston Stage Company, Fresh Ink Theatre, and The Hub Theatre Company. Samantha received her MFA from Brandeis University.
Jennifer Barclay is a Chicago-bred actor and playwright. Recently, she relocated to Washington, DC to join the faculty at the University of Maryland. Jennifer is currently a member of Center Stage’s inaugural Playwrights Collective, and was previously the 2009-2010 Shank Playwright in Residence at South Coast Repertory. She has been awarded the Samuel Goldwyn Writing Award, Mary Margaret Linn Theatre Award, the Pinter Review Gold Medal Prize for Drama, Best Female Dramatic Solo at the San Francisco Fringe, and the second Prize for the Kennedy Center’s 2008 National Science Playwriting Award. Jennifer has been granted playwriting residencies at The Hawthornden International Writers Retreat in Scotland and The Virginia Center for the Creative Arts. Jennifer’s plays have been produced by La Jolla Playhouse, Teatro Vista, Remy Bumppo, The International Theatre of Vienna, Collaboraction); Red Tape, Mary-Arrchie Theatre Company, Downstairs Cabaret, The Source Festival, Looking Glass, Son of Semele, Redcat, Moving Arts, the University of Maryland, the San Francisco Fringe Festival, the Edinburgh Fringe Festival, and UC San Diego’s Baldwin Festival of New Plays. Jennifer has written the screenplay adaptations for The Human Capacity and Freedom, NY, the original screenplays The Fontaines, Prank, and The Right Track, and the TV pilot Flesh & Blood.
BRIDGET KATHLEEN O’LEARY joined New Rep in 2008 where she serves as Associate Artistic Director. She has directed New Rep’s productions of Blackberry Winter, Scenes from an Adultery, Muckrakers, Pattern of Life, Lungs, Fully Committed, Collected Stories, DollHouse, boom, Charles Dickens’ A Christmas Carol, and Fool for Love. Other directing credits include The Heidi Chronicles (Northeastern University), Othello (Actors’ Shakespeare Project), The Flick (Gloucester Stage Company), Reconsidering Hanna(h) and The Devil’s Teacup (Boston Playwrights’ Theatre); The Other Place (The Nora Theatre and Underground Railway Theater); Recent Tragic Events, and Aunt Dan and Lemon (Whistler in the Dark). In 2007, she assisted Artistic Director Wendy C. Goldberg at the National Playwrights’ Conference at the Eugene O’Neill Theater Center and worked as an assistant on new plays by Rebecca Gilman and Roberto Aguirre-Sacasa. Before moving to Boston, Bridget worked in Washington, DC with the Olney Theatre Center, Theater Alliance, Cherry Red Productions, Charter Theater, Studio Theatre Second Stage, and Phoenix Theatre DC, of which she was a founding member. She is the Chair of the Literary Committee for the National New Play Network and a member of the New England New Play Alliance. Bridget received her MFA in directing at Boston University.
Afsoon Pajoufar makes her Boston Center for American Performance and New Repertory Theatre debut. Boston area credits include Cabaret, ‘Tis Pity She’s a Whore, and Rosencrantz and Guildenstern are Dead (Boston University). Film credits include Ruined, Zoya, Remembering the Pentagons, and Nar. She received a BA in Painting from the Azad Art and Architecture University of Tehran and is currently pursuing an MFA in Scenic Design at Boston University. Originally from Tehran, Iran, she currently resides in Allston.
Annalynn Luu returns to Boston Center for American Performance and New Repertory Theatre after assisting costume design for Baltimore and Brecht on Brecht. Recent credits include designing The Cherry Orchard and co-designing Cloud Nine and God’s Ear (Boston University). Past credits include costume design for Hot Mikado (San Diego School of Creative and Performing Arts), Disguise Costumes, and various avant garde fashion collections for Exhibit Ambush. She has also worked with The Old Globe and Lamb’s Players Theatre in San Diego. Annalynn is a third year costume design graduate student at Boston University.
David Orlando makes his Boston Center for American Performance debut and returns to New Repertory Theatre after designing New Rep’s Classic Repertory Company touring productions of Othello and To Kill a Mockingbird. Other recent work includes designing Sweets by Kate and Eurydice (Boston University); and assistant design credits at Boston Conservatory, Berkshire Theater Group, American Repertory Theater, and Boston Lyric Opera. He formerly served as the resident lighting designer of the New Classics Company. David is currently a senior pursuing his BFA in Lighting Design at Boston University. He is originally from Cape Cod. Upcoming projects include La Bohème (Boston Opera Collaborative); and Bull (Boston University Senior Theater Arts Majors Productions).
DAVID REIFFEL makes his Boston Center for American Performance debut and returns to New Repertory Theatre after creating arrangements and sound for Man of La Mancha, for which he also served as Music Director, Blackberry Winter, The Elephant Man, Master Class, Marry Me a Little, Chesapeake (IRNE Nominee), and Collected Stories, among others. Recent Boston area credits include Hamlet, Blood Wedding, A Beautiful Day In November…, and Stupid F***ing Bird (Apollinaire Theater Company); A Disappearing Number (Underground Railway Theatre, IRNE Nominee); A Midsummer Night’s Dream, Othello, Measure for Measure, As You Like It, and Middletown (Actors’ Shakespeare Project); The Bridges of Madison County, Dogfight, Big Fish, Carrie, and The Color Purple (SpeakEasy Stage); Doubt, and I Capture the Castle (Greater Boston Stage Company); The Rainmaker, Man in Snow, and Gloucester Blue (Gloucester Stage, LaMama); and The Rag Doll (Blue Spruce, IRNE Nominee, Best New Play). Recent national credits include Shakespeare in Love (US national premiere); Twelfth Night and Romeo and Juliet (Oregon Shakespeare Festival); and Cymbeline (Shakespeare & Co.). Upcoming projects include the Boston premiere of Shakespeare in Love (SpeakEasy Stage Company) and The Cradle Will Rock (Boston Conservatory at Berklee). Listen at soundcloud.com/davidreiffel
Jared Mezzocchi makes his Boston Center for American Performance and New Repertory Theatre debut. Boston credits include Astroboy and the God of Comics (Company One). Off-Broadway credits include Vietgone (Manhattan Theatre Club). New York credits include Downtown Loop (Three-Legged Dog); and You Are Dead. You Are Here (Here Arts Center). Washington, DC credits include The Nether, Women Laughing Alone with Salad, and Chad Deity (Woolly Mammoth); Smart People and Intelligence (Arena Stage); and BELL (National Geographic). Regional credits include work with Baltimore Center Stage, Milwaukee Rep, South Coast Rep, Cleveland Playhouse, Portland Center Stage, and The Wilma. He has designed nationally and internationally for Big Art Group, Builder’s Association, and Connect4Climate (Design Week, Milan). Awards include a 2017 Obie Award, Lucille Lortel Award, Henry Hewes Design Award (Vietgone), the 2015 Elliot Norton and IRNE Awards (Astroboy), and the 2012 Princess Grace Award. Jared currently is the Artistic Director of Andy’s Summer Playhouse, an innovative NH children’s theater focusing on new work, and currently teaches in the MFA Design program at The University of Maryland.
Renee E. Yancey makes her New Repertory Theatre debut and returns to Boston Center for American Performance after stage managing Exposed. New England-area credits include The Fantasticks (Opera House Arts); The Honey Trap and Faithless (Boston Playwrights’ Theatre/Boston University College of Fine Arts School of Theatre); and Production Manager for A Midsummer Night’s Dream and The Boys from Syracuse (Landmarks Orchestra/Commonwealth Shakespeare Company). She was the Production Stage Manager for 30 productions at Olney Theatre Center. Favorite Olney credits include The King and I, A Chorus Line, Spring Awakening, and The 39 Steps. This summer, Renee will be the Production Manager for Richard III (Commonwealth Shakespeare Company). Renee is a Lecturer and Program Head of Stage Management for the School of Theatre at Boston University. She received a BFA in Theatre Arts from Texas State University-San Marcos. Originally from Texas, Renee was based in the DC/MD area before moving to Boston.
* member of Actors’ Equity Association, the union of professional Actors and Stage Managers in the United States
◊ member of the Stage Directors and Choreographers Society
º member of United Scenic Artists, Local USA 829
“A profound and deeply moving play…There is something in this production that speaks to all of us.”
“Freshly relevant… a sensitively told and deeply affecting production.”
Exceptional…The play works on so many levels…well-played by an excellent cast.
Sunday, February 25th, 4PM
Saturday, March 3rd, 3PM
Wednesday, March 7th 7:30PM
Saturday, March 10th, 3PM
Ripe Frenzy received the 2016 Smith Prize for Political Theatre from the National New Play Network (NNPN).
New Rep is Boston’s core member of NNPN, which is an alliance of non-profit theaters that champions the development, production, and continued life of new plays.
In past seasons, we’ve produced what NNPN calls Rolling World Premieres, such as Steve Yockey’s Blackberry Winter and Stephen Sach’s Bakersfield Mist. These premieres involve productions of the same play in at least three cities over the course of one season, which allows the playwright to continue working on the script and making adjustments based on what is learned from each production.
Adrianne Krstansky in Blackberry Winter
Ken Cheeseman and Paula Langton in Bakersfield Mist
Photos by Andrew Brilliant / Brilliant Pictures