Venus Theatre

PRODUCTION HISTORY

Venus Narrative

Venus Theatre has been evolving over a decade.  Here's our narrative:

            Venus Theatre is committed to setting flight to the voices of women and children. Venus Theatre accomplishes this mission by developing and producing plays by and/or about woman, developing plays and education opportunities for youth and by collaborating with other social and arts organizations on projects that give women a safe forum in which to express themselves.  Venus’s work most often reflects the stories of underserved woman including, but not limited to, prisoners, immigrants, artists, historical figures and their social issues and place in history.

            In 2002, Venus Theatre launched the wRighting Woman Reading Series. Submissions are received throughout the country and a series of plays are selected each year. The wRighting Women Reading Series allows Venus Theatre to explore new works by living playwrights and at times this has given way to collaborative opportunities throughout the region. One example was the reading of a new play entitled, Tiny Madmen in 2002, which dealt with indentured slavery on US soil in contemporary times. Venus collaborated with Break the Chain Campaign (http://www.breakthechaincampaigndc.org) which is a nonprofit organization in  that helps women in DC become educated and reclaim their green cards.  The women from BTCC did not leave the theatre as scheduled but stood in the lobby after the talkback and began to share their own stories. One woman taught herself to read and write English by going to the library every day. Another spoke of her experience in being trapped inside of a home in Washington and being told that cameras were everywhere and she could not leave. Each story brought actors, playwright, and everyone in attendance to a newfound understanding of humanity.

            In 2008, the wRighting Woman Reading Series took on great power. Venus was producing a new play almost once a month. Playwrights came in from Chicago, Maine, Los Angeles, and New York to participate in the development of their work. With the success of the 2008 exploration, Venus received 40 new play submissions and successfully selected and produced four for the 2009 season. 2010 saw the submissions double and the 2010 season is full swing with four full productions.

            The ripple effect for the playwrights has been profound. Many world premieres have received an afterlife thanks to Venus. The work of Carolyn Gage is a good example: once Venus produced The Anastasia Trials in the Court of Women, Samuel French picked up the play for University distribution and it is being done on college campus' around the country. Ugly Ducklings, also by Gage, was 13 years old when Venus introduced it as a world premiere. After it's premiere the play received further productions, a documentary deal, and became a movement which ended with "tolerance kits" appearing in the Maine public school system.

            The work of Cynthia Cooper is another fine example. How She Played the Game is a play that had been published and stood the test of time. Just as Title 9 was being debated and girls were finding their way onto soccer fields, football fields, and basketball courts, Venus Theatre brought to life six amazing athletes: Althea Gibson, Sonja Henie, Babe Didrikson, Eleo Sears, Gertrude Ederle, and Gretel Bergman.  A meeting with Gertrude Ederle was arranged just one month before her passing. Once again, Venus had brought the voices of triumph into a room where they could be heard.

            Deborah Randall's project on the Molly Maguires took a bold risk and posed a new historical theory by talking about the massacre at Wiggan's Patch in 1875 which preceded the legal execution of 20 Irish men in 1877. The theory posed says that the illegal killing of a multi-generational family of miners at Wiggan's led to a publicly funding ethnic cleansing in Panther Valley, PA, the home of perhaps the most precious resource of all, anthracite coal. Before women had the right to vote, Venus posed the question, how did they survive, raise families, and thrive, when the bread winning and politically powered men were executed?  This theory had often been discussed with a short paragraph in a text entitled, "Making Sense of the Molly Maguries" but never before printed at length or spoken in a public forum. The play become published and is taught at Penn State today.

            Not only are audiences finding Venus, but the theatre is attracting a vibrant stable of artists. Debbie Jackson writes in her review Zelda at the Oasis: “The fact that such an accomplished work is receiving its world premiere at Venus attests to the company’s steady rise and appeal. Another sign is the high caliber of performers and directors who find their way to Venus Theater.” This artistic growth is happening in conjunction with a focused marketing and fundraising campaign.

Significant Achievements

The growth of Venus has been a vibrant journey that has led the company through various temporary spaces in Washington, DC, Baltimore, MD, NYC, and Pennsylvania. These explorations and experiences have informed the company along the way and the mission solidifies under one roof at the Venus Theatre Play

Shack, which was created in 2007.

Venus has matured from producing two plays per season, primarily directed by Deborah Randall, Artistic Director, along with ancillary programming, to its current production schedule of four plays with 2-3 guest directors. 
Zelda at the Oasis, by P.H. Lin, produced this season, tripled audience attendance at Venus theatre.

Venus’s accomplishments, as described in Mission and Work have resulted in recognition beyond audience development and social changes.  This recognitions includes:

2009 Helen Hayes Theatre Artist Award - Deborah Randall, Artistic Director -

2005 Curve Magazine Play of the year Award - Cigarettes and Moby Dick by Migdalia Cruz

2004 Curve Magazine Play of the year Award - Ugly Ducklings by Carolyn Gage -

2004 American Theatre Critics Award Nomination - Ugly Ducklings by Carolyn Gage

2002 American Express Award - Deborah Randall, Artistic Director