Venue Details

14 Star Starred
Stone Soup Theatre's Downstage
4029 Stone Way North Seattle, WA 98103
Venue website Get directions
4.3 / 5 Rated by 13 members
Review from Terri Nix
Red Velvet 30 events 19 reviews

The acting in this play is phenomenal. It was not what I expected however, from the description - "it's a wildly surprising and often humorous tale of a troubling relationship between a young woman and her uncle."; it is a pedophile relationship....continued

reviewed Feb 10 2011 report as inappropriate
Review from Jon
10 events 4 reviews

I was pleasantly surprised by this production. I was not very familiar with this play--I knew the general premise, but hadn't seen a production of it. I really enjoyed the show. I thought the casting in particular was very well done, and the...continued

reviewed Feb 11 2011 report as inappropriate
Review from Ann Roth
12 events 4 reviews

This is a dark play, guaranteed to spark a lively conversation. The acting was very good, and the dialogue was at times quite clever. We were riveted! The Stone Soup theater is small and intimate, and my husband and I are impressed with the level...continued

reviewed Feb 11 2011 report as inappropriate
View All 10 Reviews
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Quotes & Highlights

How I Learned to Drive won the Pulitzer Prize in 1998, as well as Obie, Drama Desk, Outer Critics Circle and New York Drama Critics awards.


Written by Paula Vogel

Featuring Maureen Miko, Zachariah Robinson, Kelli Mohrbacher, Jaeger Weatherby and Jaryl Draper

Insightful. Outrageous. Funny. Disturbing. The metaphor of driving in this 1998 Pulitzer Prize-winning play offers a remarkably candid view of the strained relationship between a young woman nicknamed Li’l Bit and her Uncle Peck. Innovative staging chronicles the passage of time and place over 30 years as audiences are reminded of the mysterious power of forgiveness and the humanity that binds, especially in families.

Using the metaphor of driving, taboo issues of exploitation are brought to light, often with humor, suspending the piece between the categories of drama and comedy.

Vogel uses the classic Greek device of a chorus composed of a male, a female, and a teenager to fulfill a variety of roles in the play. As well as observing and commenting on the action, they assume roles in various scenes, such as individual family members and high school students. The two main characters, Li’l Bit and Peck, are observed and analyzed by the Greek chorus to provide a catharsis for the audience, as in the Greek choral tradition. When the adult Li’l Bit drives off at the end of the play, once more able to believe in forgiveness and family, the catharsis for both Li’l Bit and the audience is complete.

Moreover, Vogel, like the ancient Greek playwrights, warns the audience of its own fallibility. She does not ignore omens that presage moral disaster but meets them head on. In dramatizing the different perspectives of Li’l Bit and Peck, by extension she dramatizes those of every member of the audience and its larger society. 

<em>Haters Roast: The Shady Tour</em> <em>The 39 Steps</em> Comedy at Renton Civic Theatre <em>Cirque du Soleil: LUZIA</em> The Triple Door Dance Theatre of Harlem