Like the principles embedded in the company, Lexi and Tim have built this show around emerging and independent actors, as well as stage and sound design crew, with an aim to build and support the growth of live Canberra theatre. Every member of the production team provides ‘shadow’ opportunities to emerging industry artists, with a view to mentoring them for the next production. Reading this after watching the Johnny Depp/Amber Heard trial really makes you think differently about it. Like damn bitch why you gotta be throwing pans at someone’s head that’s straight up not okay. Not that i thought it was okay the first time I read it but it’s just so clearly abuse I’m trying to figure out what the playwright was doing with her. The Mill Theatre is in Building 3.3, the Screencraft and KeepCo building which is a short walk from Capital Brewing. There are two easy ways to approach the Theatre: The plan for the set is a kind of ‘industrial minimalism’, with concrete walls, raw materials, and brutalist style furniture,” Tim explains. “The intimacy of the space will allow the audience to be seated up close to the play’s colourful characters, permitting an immersion into their lives as we follow their journey. We have COVID-contingency cast members. This process means that should any cast or crew be unwell, our contingency cast will step in to ensure the safest environment for the company and audience. The front of house team will ensure audience are alerted to any changes before each show.

Presented by Jeffrey Richards, Jerry Frankel, Gary Goddard Entertainment, Ted Snowdon, Doug Nevin/Erica Lynn Schwartz, Ronald Frankel/Bat-Barry Prods., Kathleen Seidel, Kelpie Arts Llc., Jam Theatricals, Rachel Helson/Heather Provost Starting with a volatile opening scene, the play transports the audience to an intimate setting in a small middle-American town. We get up-close and personal with two couples—Greg (Rhys Hekimian), Steph (Alana Denham-Preston), Kent (Ryan Erlandsen), and Carly (Lexi Sekuless)—as they navigate a toxic environment.Like his main character reads HAWTHORNE and SWIFT for fun?! And then has the audacity to say “Women, huh? That about sums it all up…” Every seat in the house has a great view, and a different view. Patrons walk through the set to find your seats, adding to the intimacy of the space. This means, late arrivals or patrons who leave the theatre before intermission or the end will NOT BE ADMITTED TO THE THEATRE. LaBute wrote a sequel to the play, Reasons to be Happy, which premiered in June 2013 at the Lucille Lortel Theatre in an MCC Theater production. It features the same four characters several years later, and starred Jenna Fischer, Josh Hamilton, Leslie Bibb and Fred Weller. [8] Awards and nominations [ edit ] Original Broadway production [ edit ] Year

Like i swear this play is literally about oh boo hoo you think it’s bad for a man to not think you’re the most beautiful thing on earth well guess what they can be WORSE than that, you’re dumb for being upset for not being pretty enough when PREGNANT WOMEN are getting CHEATED ON. Like ok chill Neil. Playwright/provocateur Neil LaBute has explored our obsession with physical appearance and the way it wreaks havoc on relationships in such works as “Fat Pig” and “The Shape of Things.” But “reasons to be pretty,” the third entry in this unofficial trilogy, cuts even deeper than its predecessors. Marking the playwright’s belated Broadway debut, this lacerating and extremely funny work should appeal to younger theatergoers especially. Wait im so pissed. Truly. It’s not that men can’t write about women but wait actually no they can’t, not about this stuff. Not about beauty, something that is so fundamental to being a woman, so un-understandable if you haven’t lived through it. Now that reasons to be pretty has arrived in its new home on Broadway with it's half-new cast, revised script here are my reasons to be enthusiastic:I think we needed to go through a period of ‘adulting’,” Lexi identifies, “to emerge with a team of people willing to work and commit to doing the brutal ‘hard yards’ in the creative industries.” In 2011 it was produced in London at the Almeida Theatre with a cast including UK actress Billie Piper, Kieran Bew, Siân Brooke and Tom Burke. [5] It opened to critical acclaim on the press night, November 17, 2011, with reviewers claiming it 'was one of the best theatre productions' they had seen in 2011.