More Information About The Bigger Man

Description

The Bigger Man is a vivid and often hilarious portrayal of thirty-something urbanites as they wrestle with commitment issues, a loss of identity, paranoia, and a general mistrust of happiness. More than simply being about drugs or cults, the fear of matrimony, or lack of a purposeful life, the play's depiction of "The Foundation" holds a mirror up to our "quick fix" society. If you feel bad about yourself, take a pill, read a self-help book, join a cult.  In the age of Dr. Phil and the ballyhoo surrounding certain religious organizations, this play is timely and relevant.

Playwright Sam Marks is a graduate of Brown University’s Playwriting program, which is headed by Pulitzer Prize winning playwright, Paula Vogel.  He is a Jerome Playwright Fellowship Finalist and the recipient of the John C. Russell Fellowship for New Playwrights. This past year, The Bigger Man was selected to be part of Arena Stage’s Annual Downstairs Reading Series.  This year, Mr. Marks will be developing a new work as part of the Kennedy Center New Playwrights Development Program and his next play, Nelson, opens in New York in spring 2007.  His first play, Craft, was developed into a cable series with Tom Fontana and Greenestreet Films.  Next year he will begin a one-year professorship in Playwriting at Harvard University. 

The Bigger Man features Circle X company members: Richard Augustine, Thomas Fiscella, Matt Ford, Jennifer Kays, Jennifer A. Skinner, Brian Shnipper, Linda Bailey Walsh and Natalie Griffith.

The Bigger Man is directed by Circle X Company Member, David Vegh, Assistant Director is Lisa Szolovits.  The Lighting Design is by Kristie Roldan.  Sound Design is by Jacob Davis, Assistant Technical Director of Redcat, whose previous credits include productions at The Ahmanson and The Mark Taper Forum.  Costume Design is by Jennifer Koster

The Scenic Design is by Laura Fine whose selected past credits include BASH at The Odyssey Theatre, as well as Triptych, Red Star, and The Body with Nomad Theatre Company at The Matrix Theatre, The Barber of Seville for San Francisco Opera’s Merola Program. Other theatre design credits include The Geffen Playhouse’s production of Do Jump (2002), Latino Theatre Company’s Dementia (2002), and Associate Design with Director Peter Sellar’s for Artaud’s Last Essay at Vienna Festival.

About the Ticket Supplier: Circle X Theatre Company

Since its inception in 1996, Circle X has produced over twenty full length plays, twelve of them world premieres. Several have been West Coast premieres, and still others fall into the category of "rarely seen" work. In addition to the mainstage, Circle X continues to develop plays and playwrights through its monthly reading series and project development sessions. Circle X is constantly seeking new work to develop, while nourishing relationships with the playwrights who have helped to bring the company to where it is today.