STUPID FUCKING BIRD by Aaron Posner, sort of adapted from The Seagull by Anton Chekhov
Posner's wildly irreverent reworking of Chekhov's masterpiece is not only a contemplation of young and old, present and past, but a meta-meditation on the state of modern theatre and the purpose of art as a cultural catalyst. In it everyone is in love and almost no one is loved in return; luxury and privilege are everywhere while happiness is absent; everyone has everything but somehow manages to feel only emptiness. Hilarious!
The Washington Post calls SFB a "savvy, petulant blitz through Anton Chekhov’s The Seagull... less an adaptation of Chekhov’s landmark drama than a funny, moving slugfest, a ripe mashup of mock and awe…" DCist.com calls it "a refreshing splash of cool water on dry, well-trod terrain…STUPID FUCKING BIRD is what you get from a writer who not only adores the material he’s adapting, but understands it precisely.”
Directed by Christian O'Shaughnessy.
Featuring Jude Bishop, Stephanie Schlis, Alysabeth Clements Mosley, Michael Augenstein, Omid Dastan Harrison, Paige Reilly and F. Parker Fowler.
May 27 - June 12, 2016
May 27 & 28
June 2, 3, 4 & 5
9, 10, 11 & 12
Reserve seats by email here or call or text 719.3575.ACT. Seats are also available on the day of the performance at the theatre door.
Tickets: $15, $12 senior/military/veteran, $6 students (at door only)
PLEASE NOTE THAT WE HAVE CHANGED OUR EVENING CURTAIN TIME TO 7:30 RATHER THAN 8PM. OUR SUNDAY SHOWS WILL CONTINUE TO START AT 4PM.
Bill Wheeler at BroadwayWorld reviews:
KILLER JOE: Star Bar takes on Killer Joe with a bold enthusiasm. The challenges for a small company are considerable; this is a script that will appeal to a limited audience. The set and props are substantial, the special effects, including spilling blood onstage are critical to a successful performance. Star Bar blows right by these challenges, bringing Letts’ script to life with a brash, raw, nonstop energy.
ENDGAME: Star Bar Players’ production is one that would have brought a smile to Beckett’s face. It’s authentic, true to Beckett’s message, and an altogether exemplary production of a very difficult script... I’ve seen other productions of Endgame, but this one is the best I have seen yet.
We are lucky in COS to have a group like Star Bar that is willing to take a chance on a risky play like "Bug" -- or, for that matter, "Waiting for Godot" last Fall. -- "Bug" is not an easy play. We witness how seemingly normal people in the first act are drawn into a psychotic world of paranoia and conspiracy theory in the second act. Not the most uplifting theme in the world! -- The transition is tough, and the playwright doesn't really help. Three weaknesses of the main character are revealed in the first act, and none are used in the second act to make the transition believable. The actors have to do that all on their own. The Star Bar players are powerful and should be supported, in my view, even if only because they are willing take huge risks -- like this one.
- James Wood, 2010