Tickets at: www.custommade.org/tickets

Preview Jan 8 & 9, 8:00 pm
Opens Jan 10, 8:00 pm
Runs Jan 11- Feb 1! Thurs-Sat 8:00 pm, Sun 7:00 pm
Sat matine Jan 17 3:00pm

Tickets $20-$50

Getting to Gough Street Playhouse

Visit our directions page to plan a route via Google Maps.  Save the planet, take public transportation!

Parking

Last minute parking on-the-street is not recommended, but is possible with some planning.

On weekday evenings a good approach is to park at 7:00pm between Bush and Pine on Franklin Street, just when it stops being a tow-away zone. At that time there are plenty of spaces, and plenty of restaurants to grab some dinner pre-show!

There are also plenty of parking lots between Geary/Van Ness and the Theatre.

Tickets at: www.custommade.org/tickets

directed by Ariel Craft

Maria Leigh -Mary
Brian Martin -Crick
Lauren Preston -Red

Staff/Crew

Cat Howser -Stage Manager/Props Design
Erik LaDue -Scenic Design
Colin Johnson- Lighting Design
Brooke Jennings -Costume Design
Liz Ryder-Sound Design/Original Music
Stewart Lyle -Technical Director
Jon Bailey Fight -Choreography

Maria Leigh (Mary) is excited to be making her debut with Custom Made especially because she gets to work with such wonderful collaborators.  Unlike her character, Maria is chronically early.  She is also a Bay Area actor who has worked locally and internationally with many companies, including: We Players; Bigger Than a Breadbox Theatre Company; Rapid Descent Physical Performance Company; foolsFURY; Theatre Pub; Centro Estatal de las Artes (Mexicali, MX); Cutting Ball; Ragged Wing; La Tropa; and Thunderbird Theatre.   You can catch her next as part of the ensemble in Berkeley Rep’s Tartuffe. 

Brian Martin (Crick) is  excited to return to Custom Made Theatre, having recently performed as Billy Pilgrim in their production of Slaughterhouse Five and previously as Lorenzo in their production of The Merchant of Venice. Brian recently completed a 6 month run with The Speakeasy SF where he originated the role of Cliff and swung for the roles of Archie, Dick and Leland. Brian has worked with various companies throughout San Francisco; some previous credits include Simon in The Disappearance of Mary Rosemary, Xavier in The Edenites, Lucentio in The Taming of the Shrew and Wadsworth in Clue.

Lauren Preston (Red) has worked on several productions as an actor and scriptwriter where she attended University in Brussels, Belgium. She has performed as a singer in the Jackson area of Wyoming as well as a guest singer with Bohemian Bretheren in San Francisco. Her favorite roles include Hermia from A Midsummer Night’s Dream and Yenta in Fiddler on the Roof.  Originally born to a cattle ranching family in Wyoming, she spends her winters in the Bay Area and continues to manage the ranch and train horses in the summer.

Ariel Craft (Director) is a Bay Area-based director and arts administrator. Past directing credits include Blood Wedding, ’Tis Pity She’s a Whore, Robot Hand, Landscape of the Body, and How I Learned to Drive. Assistant direction credits include The Normal Heart remount at American Conservatory Theater (Tony Award, Best Revival of a Play) and 69°S. at Brooklyn Academy of Music. Ariel serves as Assistant Artistic Director at The Custom Made Theatre Co. under Brian Katz, and is founder and Executive Artistic Director of Bigger Than a Breadbox Theatre Co., a Company in Residence at the EXIT Theatre. Ariel is a frequent collaborator at the San Francisco Girls Chorus and a past Artistic Fellow at A.C.T. Ariel holds a BFA in Theatre from New York University.

Cat Howser (Stage Manager) has worked on two previous shows with Custom Made Theatre: Book of Liz 2014 and Slaughterhouse-Five. Cat is a Bay Area Stage Manager who grew up in nearby San Jose. Previously, she was a stage management fellow with the American Conservatory Theatre here in San Francisco. Cat worked on many shows at A.C.T., including A Christmas Carol and The Orphan of Zhao. She graduated from California State East Bay with a degree in Theatre.

Brooke Jennings (Costume Design) is ecstatic to return to Custom Made Theater Company with these inspiring and moving pieces of theatre. A recent graduate of UC Santa Cruz’s Theater Arts Masters Program, Brooke previously designed Custom Made’s The Crucible, directed by Stuart Bousel, which she received a nomination for Best Costume Design by Theatre Bay Area. Brooke works at several other theaters in the Bay Area, including Magic Theater, Virago Theatre, OnTheHouse Theater, City Lights Theater, The Santa Cruz Fringe Festival, and Santa Cruz Shakespeare.

Colin Johnson (Lighting Design) is always happy when he gets to work with the great folks at Custom Made. After acting for 6 years off and on in San Francisco, Colin started stage managing in 2010 and soon after started doing lighting and sound design. He is a company member with Performers Under Stress and Robillard Theatre. His favorite shows he has lit are You Need To Read Poetry, Sam I Am and Scamoramland by Performers Under Stress, Roadshow by Stephen Sondheim for Theatre Rhino, Peter/Wendy for Custom Made, Life X 3 for Off Broadway West and Age of Reason by Theatre Robillard. This past year he was nominated for a Theatre Bay Area award for lighting design for Life X 3. Thanks to everyone at Performers Under Stress and at Theatre Rhino . Much love to Darren, Neel, Romany and Shania.

Erik LaDue (Scenic Design) studied Theater at UCSC where he developed his passion for Design. This passion led to his association with The Ragged Wing Ensemble and led to his receiving the Oregon Shakespeare Festival’s Richard L. Hay Scenic Fellowship. His Bay Area Credits include: Year Of The Rooster (Impact Theatre), Time Sensitive (Ragged Wing Ensemble), Next to Normal (Custom Made Theatre Co.), Pride and Prejudice (Poison Apple Productions), and Dark Play, or Stories for Boys (DoItLive! Productions)

Stewart Lyle (Technical Director) is the technical director for CMTC, where he has designed The Crucible and The Pain and the Itch. He has directed, designed, and built highly successful productions of RENT, The Fantasticks, Moonlight and Magnolias, The 25th Annual Putnam County Spelling Bee, Man of La Mancha, and Art for Altarena Playhouse in Alameda along with Children of Eden at Contra Costa Civic Theatre in El Cerrito. As Resident Technical Director for Altarena, Technical Director for the Woodminster Summer Musicals in Oakland, and Build Manager for Contra Costa Civic Theatre, he’s designed and/or built sets for more than 30 shows the last three years alone. A member of Actor’s Equity Association, the union of professional stage actors, he has performed in over 100 productions throughout California with companies that include TheatreWorks, San Jose Stage, Willows Theatre Company, Pacific Repertory Theatre, The Mountain Play, Cabrillo Stage, Foothill Musical Theatre, and Alameda Civic Light Opera.

Liz Ryder (Sound Design, Original Music) is a seasoned composer, musician and sound designer with a Master’s Degree in Composition/Creative Music Technology from Bangor University, UK, and is resident composer at Custom Made Theatre. She’s the winner of a BATCC award for sound design/music for Eurydice (2013-14 season), and a TBA award nominee for sound design for The Crucible (2014). Recent CMTC credits include: Three Tall Women, Slaughterhouse 5, The Book of Liz, The Crucible, Top Girls, The Pain and the Itch, Peter/Wendy and The Play about the Baby, amongst others. For MTC: Rapunzel, and Around the World in 80 Days (2015); for Masquers: Dead Man’s Cell Phone, for NCTC: Harbor. lizrydersounds.com

Sarah Ruhl (Playwright) Ms. Ruhl’s plays include, In the Next Room, or the Vibrator play (Broadway 2009, 2010 Pulitzer Prize Finalist), The Clean House (2005 Pulitzer Prize Finalist; The Susan Smith Blackburn Prize, 2004); Passion Play, a cycle (Pen American Award, The Fourth Freedom Forum Playwriting Award from The Kennedy Center); Dead Man’s Cell Phone (Helen Hayes Award for Best New Play); Melancholy Play; Demeter in the City (9 NAACP Image Award nominations), Late: A Cowboy Song (2010); Eurydice; and Orlando.  Her plays have been produced at Lincoln Center Theater, Goodman Theatre, Arena Stage, Woolly Mammoth Theatre Company, Yale Repertory Theatre, and Berkeley Repertory Theatre, among others. Originally from Chicago, Ms. Ruhl received her M.F.A. from Brown University where she studied with Paula Vogel. She is a member of 13P and New Dramatists and won the MacArthur Fellowship in 2006. She is a recent recipient of the PEN Center Award for a mid-career playwright.

Coming Soon

Director Craft on Late:

Sarah Ruhl is absolutely masterful at infusing tender, poetic, and often very delicate language with robust and momentous emotional journeys. She finds beauty in the complexities and messiness of human experience, and draws on the truth of those experiences to weave the tapestry of the play.

Late explores the fate of static relationships that refuse to evolve as we grow up, transform, and redefine our own identities. It follows the disintegration of one relationship and the budding of another; the central story is that of a love triangle but the most important relationship in the play is the relationship to oneself.

While mostly realistic, Late sometimes uses abstract storytelling devices that define the play’s theatricality. The audience can expect surprises: how we embody the passage of time, how we realize a horse onstage.  Oh, and Laren Preston, who plays Red, is not only an actor, but a cowboy in real life.