2015-2016 Season Announcement

Theatre Pro Rata is thrilled to announce the productions for its upcoming 2015-16 season. This mix of modern and timeless classics will feature A Lie of the Mind by Sam Shepard, the Tony Award-winning The Beauty Queen of Leenane by Martin McDonagh, and The Knight of the Burning Pestle by Francis Beaumont, a rollicking satire of the theater (and its audience members) from the Jacobean era.

A Lie of the Mind
By Sam Shepard, directed by Carin Bratlie
September 12 – 27, 2015
Performing at Nimbus Theater
Shepard’s famous portrait of the American nightmare begins when Beth wakes up with a brain injury. Her husband Jake has beaten her so badly that she retreats to her family home in Montana. Jake crawls back to his mother and siblings in California. Two families begin to reassess and unravel. When the mind can take no more, it survives by breaking down and rewiring its pathways. But when the family dynamic deteriorates, it may take gunshots and fire to forge more reliable bonds.

The Beauty Queen of Leenane
By Martin McDonagh, directed by Carin Bratlie
January 8 – 24, 2016
Performing at Park Square Theatre’s Andy Boss Thrust Stage
Twenty years ago, Pato Dooley thought of Maureen Folan as the beauty queen of Leenane. He never quite stopped thinking so. In reality, Maureen is a bitter spinster, stuck caring for a spiteful mother in a house they have made into a prison for each other. When Pato returns to Leenane, Maureen sees a twinkle of hope for a life with more love in it. But one thing remains in her way, pulls her down, and sits in a rocking chair plaguing her heart out. In his first published work, master tragedian Martin McDonagh proves that when cruelty is met with cruelty, all promises of civility are forfeit.

The Knight of the Burning Pestle
by Francis Beaumont, directed by Amber Bjork
June 3-19, 2016
Performing at Dreamland Arts
In the first full-length, English-language theatrical parody, a company of actors prepares for a performance of “The London Merchant.” But a pair of wealthy patrons demand their apprentice Rafe be inserted into the play. He becomes the errant Knight of the Burning Pestle, tasked to prove his bravery amidst the plot of a love story that does not need him. Written at the peak of the Jacobean era and lampooning the best of the bygone Elizabethan playwrights, The Knight of the Burning Pestle stands as proof that players, patrons, and the theatre-going experience have changed little over the centuries.