The Resting Place is a provocative and intense look at an American Family in a cloudburst of crisis—filled with raw humor, piercing darkness and fierce love. Ashlin Halfnight (Magic Virgin Play Festival 2017) addresses familial obligation, guilt, our own complacency and culpability in wrongdoing and asks, how do we reconcile our love for someone with the knowledge of their horrifying transgression?
Ashlin Halfnight is currently a writer on the Emmy Award-winning Netflix show, BLOODLINE. His feature films ASTRAEA and DIVING NORMAL can be found on VOD, and his mockumentary feature MAYBE THERE'S A TREE (starring Colin Mochrie & Creed Bratton) is currently in post-production. His teen thriller SURVIVAL BOX is in pre-production, scheduled to shoot in July, 2017 in Toronto. His plays have been performed across North America and Europe and include ARTIFACTS OF CONSEQUENCE, A HARD WALL AT HIGH SPEED, LAWS OF MOTION, and GOD'S WAITING ROOM. Ashlin is a Fulbright Scholar, former professional hockey player signed by the NHL’s Carolina Hurricanes, a Howard Stein Playwriting Fellow, and was the 2006 artist in residence at the National Theater of Hungary, in Budapest. Ashlin holds an honors BA in English from Harvard University and an MFA in Playwriting from Columbia University’s School of the Arts. He lives in Brooklyn with his wife and sons, and enjoys whiskey, new socks, and the film Footloose.
Elizabeth Benedict is thrilled to be working at the Magic for the first time.
She has appeared at the Aurora in The Fifth of July, The Best Man, Hedda Gabler and Split.She was seen at TheatreWorks in The Cripple of Inishman and at the B Street Theatre in Sacramento in Becky Shaw. In addition, she has worked locally at ACT, TheatreFirst, Traveling Jewish Theatre, Pacific Stage AllianceCo., Playhouse West, and Free Range Theatre Co., where she was a founding member. She is also a playwright, as E.H. Benedict, and her short plays Orhan and War on Terror were produced locally by Golden Thread. She has been a semifinalist for the O’Neill National Playwrights Conference twice – in 2008 with American Royals and 2013 with Rashomon in Kansas. Her play Last Party at the Garden of Allah, or Lesbians in Pre-Code Hollywood was to have had a reading this past June at the Playwrights Lab. Deep gratitude and love to Loretta, Anne, Julia, Anne and most of all Caryl Churchill for the gift of this play.
Anne Darragh is thrilled to be part of this amazing team. She began her professional career at the MagicTheatre in the world premiere of Lynn Kaufman’s Speaking in Tongues. Other Magic productions include Sam Shepard’s The God of Hell, Rebecca Gilman’s TheAmerican in Me, Edna O’Brien’s Tír NanÓg, and Paula Vogel’s The BaltimoreWaltz (among many others). She has had the honor to perform in numerous world premieres including the Eureka Theatre production ofTony Kushner’s Angels in America as well as works by Michelle Carter, Barry Gifford, Julie Myatt, and Neena Beber (Magic), Anthony Clarvoe (Aurora), Brian Thorstenson (6NewPlays), Jane Prowse (Z Space), Amy Sass (Ragged Wing), Julie Jigour (PlayGround), DenisJohnson (Campo Santo), Bill Talen (Life on the Water), Peter Nachtrieb (EncoreTheatre), Allan Havis (Ohio Theatre, NY), and Anne Galjour (Brava Theatre). Shewas last seen in The Children at the Aurora Theatre. Ms. Darragh has also performed with A.C.T., Berkeley Rep, Marin Theatre Company, San Francisco Playhouse, San Jose Rep, andTheatreWorks. She is a company member of PlayGround and Stephen Pelton DanceTheatre Company. Thanks to her family, as always.
Anne Hallinan is delighted to be making her Magic Theatre debut as Lena. A long ago member of the SF Mime Troupe, she returned to the stage 20 years ago, appearing in Vanya and Sonia and Masha and Spike (Cassandra), Center Rep; Years in the Hundreds (Inez), Central Works; Voyage (Masha, Mrs. Beyer), Shotgun Players; Disclosure (Anna), Those Women; Deathtrap, (Helga), Theatre Rhinoceros; Strindberg’s Chamber Plays (various), Cutting Ball; Les Blancs (Madame Neilson), Stanford Rep; Torch Song Trilogy (Ma), theatre Q; and The Arab-Israeli Cookbook (Rena, Rose, Shoshi), TheatreFirst. A longtime Berkeley resident, she has also performed with El Teatro Campesino, Utopia Theatre Project, Woman’s Will, Bay Area Children’s Theatre, and the Boxcar and Tabard Theatre Companies, as well as understudying at Berkeley Rep and SF Playhouse. Selected film/web series credits: White Rabbit, Next, Ten Plagues, Adaline, and the upcoming How to Succeed as a Failure in Hollywood. www.annehallinan.com
Julia McNeal’s Magic Theatre credits include Visible from Four States, TheEva Trilogy, Fred’s Diner, and A Lie of the Mind. Other Bay Area credits: Top Girls, at A.C.T.; The Events at Shotgun Players, Gidion’s Knot (extension) at AuroraTheatre. She has also appeared at SF Playhouse, Marin Theatre Company, Porchlight Theatre, TheatreFirst, Center Reperatory Company, Pacific Alliance Theatre, Actors Theatre of SF, First Person Singular, and PlayGround (where she is a company member). Film and TV credits include The Unbelievable Truth; Fleshand Bone; Law and Order and Law & Order: SVU. Julia was a founding member of the Obie-Award-winning Cucaracha Theatre in New York and theEcho in Los Angeles. She teaches at Tamalpais High’s internationally acclaimed CTE program and is the creator of the FiveWays In to Character technique. Julia is a proud member of the newly born A.R.C. online actors collective. juliamcnealarts.com She is thrilled to be part of this innovative audio production. Thank you, Loretta Greco.
"I’m walking down the street and there’s a door in the fence open and inside there are three women I’ve seen before…"
Three old friends and a neighbor spend a summer of afternoons in their English backyard.
Entwined histories, laughter, and song abound over tea and catastrophe.
Born in London in 1938, Caryl Churchill grew up in the UK and in Montreal, Canada. She studied English at Oxford University, and her first play, Downstairs, was written and staged in 1958 while she was still at university. In the 1970s Churchill produced short radio plays, and moved to theatre in the early 1970s. Caryl Churchill is widely recognized as the UK’s leading female dramatist. Her plays are politically focused and show strong views on fortune, exploitation, and women’s rights. Her own experience as a middle class wife and mother gives her insight into her characters and allows her to knowledgably write about feminism and the impact of gender inequality on women like her.
is embarking on her eleventh season as Magic Theatre’s Artistic Director. At Magic, she has developed and premiered Taylor Mac’s Hir; Luis Alfaro’s Oedipus El Rey, Bruja, and This Golden State: Part 1: Delano; Polly Pen and Victor Lodato’s Arlington; Linda McLean’s Every Five Minutes; Sharr White’s Annapurna; Lloyd Suh’s American Hwangap, Jesus In India; Anna Ziegler’s Another Way Home; and Octavio Solis’ Se Llama Cristina; and shepherded the American premieres of Penelope Skinner’s Fred’s Diner, Linda McLean’s Any Given Day, and Mark O’Rowe’s Terminus among many others. Ms. Greco’s directing credits at Magic include Theresa Rebeck’s Mauritius, Liz Duffy Adams’ Or,, Sharr White’s The Other Place, Jessica Hagedorn’s Dogeaters, and last season's critically acclaimed revival of Sam Shepard’s Fool For Love and the World Premiere of Han Ong’s Grandeur. This season Ms. Greco will be directing Barbara Hammond’s The Eva Trilogy and Jessica Hagedorn’s The Gangster of Love on the Magic stage.Ms. Greco’s New York Directing premieres include: Tracey Scott Wilson’s The Story (Kesselring), Lackawanna Blues(Obie) by Ruben Santiago Hudson, and Nilo Cruz’s Two Sisters and a Piano (Kesselring) at NYSF/Public Theater; Kathryn Walat’s Victoria Martin: Math Team Queen, Karen Hartman’s Gum, Toni Press-Coffman’s Touch, and Rinne Groff’s Inky at Women’s Project; Emily Mann’s Meshugah at Naked Angels; Laura Cahill’s Mercy at The Vineyard Theatre and Nilo Cruz’s A Park in Our House at New York Theatre Workshop. Regional directing credits include Life is a Dream at California Shakespeare Theater, the critically acclaimed revival of David Mamet’s Speed-the-Plow and the West Coast premiere of David Harrower’s Blackbird at American Conservatory Theater; Romeo and Juliet and Stop Kiss at Oregon Shakespeare Festival, and productions at La Jolla Playhouse, South Coast Repertory, McCarter Theatre Center, Long Wharf Theatre, Studio Theater, Intiman Theatre, Williamstown Theatre Festival, Area Stage, Coconut Grove Playhouse, Cincinnati Playhouse, Repertory Theatre of St. Louis and Playmakers Repertory Company. She directed the national tour of Emily Mann’s Having Our Say as well as the international premiere at the Market Theatre in Johannesburg, South Africa. Greco has developed work with dozens of writers at Sundance, The O’Neill, South Coast Repertory, The Mark Taper Forum, New Harmony, New York Stage and Film, The Cherry Lane, New Dramatists, and The Public. Prior to her Magic post, she served as Producing Artistic Director of New York’s Women’s Project where she produced the work of Lisa D'Amour, Katie Pearl, Diedre Murray, Diane Paulus, Karen Hartman, Lynn Nottage, Tanya Barfield, and Rinne Groff. As The Associate Director/Resident Producer at the McCarter Theatre in Princeton, Ms. Greco conceived and launched their Second Stage-On-Stage Festival of New Work where she commissioned and produced the work of Doug Wright, Jane Anderson, Nilo Cruz, Adrienne Kennedy and Joyce Carol Oates among others. Ms. Greco received her MFA from Catholic University, her BA from Loyola University, New Orleans and is recipient of two Drama League Fellowships and a Princess Grace Award.
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