Friend's Enemy, 2010

Friend's Enemy tells the story of a journalist who is called upon to write a tribute piece for the environmental conservation organization her late mother founded, Friends Of Our Future. As she does her research, though, she uncovers the compromises that a large conservation organization needs to make in order to stay running, and starts to deal with the fact that her sainted mother was a flawed human being. Her struggle with her powerful godmother, now the director of FOOF; her alliance with her mother's lover Courtney, a starry-eyed idealist; and her growing complicity with anarchist environmental revolutionary K. Martin, who repudiated her mother long ago, leaves her at a loss for heroes, guidance and the right article to publish.

"Nebunele Theatre is a company dedicated to the idea of collaborative creation, and their production gives further evidence that they're onto something good...Friend's Enemy manages to be what few big 'issue' plays are—enjoyable."

-Margaret Friedman, Seattle Weekly

"The difficulties of clinging to one's idealism, and the torch-passing from one generation of activists to another, are fecund themes for drama..."Friend's Enemy," devised and performed by Nebunele Theatre, sparks interest...[and] has something to say that's worth exploring."

-Misha Berson, Seattle Times

Cussing at the Moon, 2009

Cussing at the Moon is the story of three estranged adult sisters who come together after one of them makes a surprising and ill-fated leap from the Aurora Bridge, landing in a coma at Harborview Medical Center. The investigation of these rather eccentric women, the dynamics of their familial relationships, and the patchwork faith that constitute their very individual spirituality takes them from the hospital room to the surreal internal world of a coma patient and back again. Through the consultation of a deified Angelina Jolie, they emerge on the other side wiser, sanctified, and a wee bit exposed.

'"Nebunele's "Moon" shines...The characters draw us into their world and keep us there. Although the story deals with family dysfunction and death, its serious subject matter is generously sprinkled with heart and humor, which is often physical and always entertaining."
-Steve Clare, The Examiner

Sometimes expectations are exceeded, even if expectations are high. Cussing at the Moon, an ensemble-created production by Nebunele Theatre (yes, a strange name), and a "homeless" company to boot, exceeds expectation...Choices of dialogue are sharp, to the point, and interesting..This is a lovely play, and it gets an unqualified "go see it."
-Miryam Gordon - SGN A&E Writer

Medea Knows Best, 2007/2008

Medea re-concieved and completely unfaithful to Euripides' classic tragedy, this take on Medea explored gender roles, relationships, and the power of unreasoning faith through the lens of a 50's television show. A doo-wop chorus, a disturbing leading lady: an uneasy dark comedy. What do men and women owe each other? What do they expect from each other? What happens when they fail? World Premiere at DIVAFest in San Francisco.

"it's a devilishly clever rethinking of the classic, with the seeds of this repressed, asexualized Corinth's destruction sown not in myth or fate but in the unfettered curiosity of Creon's teenage daughter (a radiant Davie-Blue crooning a fraught "I'm so Lonesome I Could Cry")."
Rob Hurwitt of the SF Chronicle

"The set is brightly colored and ingeniously built with tiny pastel houses. The television frame sets the stage, well, perfectly. Costumes are adorable '50s-style prints with flounces. It's all very well-thought-out and very clever."
Miryam Gordon - SGN A&E Writer

The Secret Ruths of Island House, 2005/2006

  The Secret Ruths of Island House is a show that grew out of interviews that Claytie and Alissa conducted with several residents of The Island House, which is an actual retirement home on Mercer Island. Their stories were fascinating; these are women who have lived through the Great Depression, World War II, grandchildren and great-grandchildren, and are writing the final chapter of their lives in a quiet, out-of-the-way place.

The original script, which premiered at the Chamber Theatre in Seattle in the summer of 2005, was a show that incorporated the recorded voices and stories of six of the women (all, incidentally, named Ruth) that were originally interviewed at the Island House. The Ruths in their present lives were played by actors in vibrant and beautiful old-age masks (designed and constructed by Claytie Mason) and their younger selves and staff at the Island house were played by the same six actors unmasked. It was an abstract and dreamlike show, incorporating dance, physical theatre, and straight-up drama, and the original score was played live by a three-piece band.

The second incarnation of Secret Ruths of Island house focused on just three of the characters who were featured in the workshop production. While the first show was a tribute to the beauty and endurance of these women who receive so little of the world's attention, this second iteration explored their lives a bit more and the depth of the character that each woman possesses--the different paths that led them all to the same Island House door. The live music was limited to the a capella songs of the three woman, and only three of the original seven masks were used. It toured the New York, Boulder and San Francisco fringe festivals, winning 'Best New Play' in both San Fransisco and Boulder, CO.

"With The Secret Ruths of Island House, Nebunele Theatre takes that elementary school assignment to interview your grandmother about her life to mature, inventive levels, slyly rewriting the book on documentary theatre... I cannot recommend this insightful play more enthusiastically."
-Jessica Avellone, nytheatre.com

"...a beautifully concentrated interplay of acting, mask work, movement, taped interviews and song in a deeply affecting look at elderly women in an assisted-living retirement home...'Ruths' is almost heartbreaking in its sympathetic and curiously affirmative humanity." -Robert Hurwitt, San Francisco Chronicle

"...the masked characters-expansive in their subtlety-open worlds of expression with their slow, measured precision..."
-Zhenya Lavy, Seattleactor.com