September 8 – September 30, 2017 by Ma <\/p>\n <\/p>\n October 27 – November 18, 2017 by <\/p>\n <\/p>\n February 9 – March 3, 2018 by Fin <\/p>\n <\/p>\n April 20 – May 12, 2018 <\/p>\n <\/p>\n Each year,\u00a0CoHo accepts project proposals from local artist-producers. CoHo’s Artistic Council<\/a>\u00a0carefully reads and considers each submission, then conducts group interviews with finalists before deciding on a main season based on each production’s promise of artistic vision, professional merit, thematic relevance and its potential to connect with CoHo audiences.<\/p>\n CoHo Productions presents b The Watson Intelligence #CoHoSeason22<\/span><\/a><\/p>\n ABOUT THE PRODUCTION<\/strong><\/p>\n The (curious case of the) Watson Intelligence<\/em> is an emotionally-intelligent drama that follows a time-travelling love triangle between the head, the heart and the machine.<\/p>\n \u201cMr. Watson, come here – I want you!\u201d<\/em><\/p>\n From the Victorian age to the 21st century, \u2018Watson\u2019 is the perfect partner. Mr. Watson was on the other end of the wire when Alexander Graham Bell sent the first communication by telephone. Dr. Watson accompanied each step and anticipated every need of fiction\u2019s greatest detective. Watson\u2019s the name of IBM\u2019s natural language-processing supercomputer, winner of the famous Jeopardy! match in 2011. And Josh Watson is the IT guy with a friendly fix for crashed technology and broken hearts, uncommonly trustworthy and aiming to please. All the Watsons want to give you what you need, but do you want what you need in a partner?<\/p>\n<\/div>\n REVIEWS<\/strong><\/p>\n “MARVELOUS AND FILLED WITH MARVELS. In the Stoppardian world of\u00a0The Watson Intelligence<\/em>, Madeleine George’s human, dramatic play takes surprising turns.” –\u00a0New York Magazine<\/em><\/a><\/p>\n “juggles deep themes with grace, wit and intellectual verve” –\u00a0Time Out New York<\/a><\/em><\/p>\n ABOUT THE PLAYWRIGHT<\/strong><\/p>\n Madeleine George’s plays, including Hurricane Diane<\/em>,\u00a0The (Curious Case of the) Watson Intelligence <\/em>(Pulitzer Prize finalist, Outer Critics Circle John Gassner Award), Seven Homeless Mammoths Wander New England, Precious Little<\/em>, and The Zero Hour<\/em>, have been produced at theaters around the country.\u00a0 She was a founding member of the Obie-winning playwrights’ collective\u00a013P (Thirteen Playwrights, Inc.)<\/a>, and is a resident playwright at\u00a0New Dramatists<\/a>.<\/p>\n Madeleine is the recipient of a Whiting Award, the Princess Grace Playwriting Fellowship, and two MacDowell Fellowships, and she holds commissions from the Sloan Foundation\/Manhattan Theatre Club, the Big Ten Theatre Consortium, and the Children’s Theater Company in Minneapolis. She \u00a0is currently the Mellon Playwright in Residence at Two River Theater in Red Bank, New Jersey. by Olivia Dufault Year of the Rooster #CoHoSeason22<\/span><\/a><\/p>\n ABOUT THE PRODUCTION<\/strong><\/p>\n Year of the Rooster<\/em> is a furious, foul-mouthed, comedic attack on heavy-weight subjects like rural poverty, animal cruelty and toxic masculinity in America.<\/p>\n \u201cYa gotta have winners and losers in this world.\u201d<\/em><\/p>\n Gil is a loser in a loser town. He still lives with his mama, with no friends or future plans, just the 19-year old manager at McDonald’s who bullies his broken spirit while dreaming of Disney World and world domination. Gil\u2019s chance at winning the American Dream is a nightmare until he gets a prize-fighting rooster named Odysseus Rex. Cockfighting was invented by the ancient Greeks (just like Democracy); now illegal in all 50 states. The stakes are life and death, the rooster is on stage – what are you willing to bet he wins?<\/p>\n<\/div>\n REVIEWS<\/strong><\/p>\n “…the play deals with hardscrabble folks in an unspecified Southern state. But it doesn’t indulge in cheap humor at their expense. And without ever being preachy, Dufault has a lot of sharp things to say about what we do to each other – and to animals – and about bullying.” – New York Post<\/a><\/p>\n “…it’s about the consuming drive to be a winner, especially when that drive becomes absurd or impossible and instead leads to mindless rage…we sense the real vulnerability that lies at the heart of these characters as the powerful are revealed to be pathetic, and vice versa.” –\u00a0Austin 360<\/a><\/p>\n<\/div>\n ABOUT THE PLAYWRIGHT<\/strong><\/p>\n Olivia Dufault\u2019s plays include\u00a0Year of the Rooster<\/em>\u00a0(New York Times Critics’ Pick),\u00a0The Tomb of King Tot<\/em>\u00a0(New York Times Critics’ Pick),\u00a0The Messenger<\/em>, and\u00a0For Want of a Horse<\/em>.\u00a0Her plays have been performed at the Ensemble Studio Theatre\/Youngblood, Clubbed Thumb, the Flea Theatre, and the Marin Theatre, amongst others.<\/p>\n She is the 2015-16 Rita Goldberg Playwrights’ Workshop Fellow and 2013=14 PoNY Fellow, as well as\u00a0the recipient of the 2015 Playwrights of New York Fellowship, the 2013 David Colicchio Emerging Playwright Award, the 2010 Lipkin Playwriting Award, and the 2008, 2009, and 2010 Harle Adair Damann Playwriting Award. She currently writes for the AMC television show\u00a0Preacher<\/em>.\u00a0She is a member of New Dramatists, the LCT Writers in Residence, and the Youngblood Playwriting Group.<\/p>\n by Finegan Kruckemeyer ABOUT THE PRODUCTION<\/strong><\/p>\n This Girl Laughs, This Girl Cries, This Girl Does Nothing<\/em> is an expressive, cyclical fable\u00a0fit for all ages, especially for the brave, curious ones who follow their heart to find home.<\/p>\n \u201cThrice upon a time, a girl was born.\u201d<\/em><\/p>\n 10-year-old triplet sisters are abandoned in the woods by their heartbroken father on a snowy night. Beatrix follows the direction of her departed dad and the setting sun, believing her own bright energy can warm anyone\u2019s heart. Albienne has a strong appetite for cakes and battle, and goes off in the opposite direction to explore the unknown. Carmen cannot move forward or back, she is best at staying still, oddly silent, helpful to others in need. So the sisters separate, but remain connected, while facing fantastical, touching adventures: they wage wars, win wealth, make homes and travel in lighthouses under the sea. Seasons change, years pass, and they become grown women – eventually returning to the same but different place, reunited as family.<\/p>\n REVIEWS<\/strong><\/p>\n \u00a0somewhere between hilarious and human\u201d – Luca, age 9, Big Kids Magazine<\/a><\/p>\n “Fables stay with us our entire life because they continue to teach and inform us.,\u00a0clarify choices when we come to crossroads early on in life and unveil what is to be gained in times of turmoil.” –StageMilk<\/a><\/p>\n \u2018Children demand imagination and clarity while adults deserve it. This is the secret of fables and fairy stories and it\u2019s the standard by which theatre for children can best be judged. By that measure \u2013 and plenty of others beside\u2026 \u2018This Girl Laughs\u2019 succeeds admirably\u2019. – The West Australian<\/p>\n<\/div>\n ABOUT THE PLAYWRIGHT<\/strong><\/p>\n Finegan Kruckemeyer has had 81 commissioned plays performed on five continents and translated into six languages, and was an inaugural recipient of the $160,000 Sidney Myer Creative Fellowship. This year 46 seasons (including 14 premieres) are presented worldwide. In Germany, he is represented by Rowohlt Agency.<\/p>\n To date, Finegan\u2019s plays have had seasons in: over 100 international festivals; all Australian states\/territories; ten US national tours; five UK national tours; and at the Sydney Opera House (six works), Ireland\u2019s Dublin Theatre Festival (two works), Scotland\u2019s Imaginate Festival (two works), Shanghai\u2019s Malan Flower Theatre, New York\u2019s Lincoln Center for the Arts and New Victory Theater (three works), and DC\u2019s Kennedy Center for the Arts (three works)…<\/p>\n Finegan was born in Ireland, and came to Adelaide, Australia aged eight. In 2004, he moved with his wife Essie to Hobart, Tasmania, from which he now writes for national\/international companies. He is committed to making strong and respectful work for children, which acknowledges them as astute audience members outside the plays, and worthy subjects within.\u00a0http:\/\/finegankruckemeyer.com\/<\/a><\/p>\n<\/div>\n by Rebecca Gilman ABOUT THE PRODUCTION<\/strong><\/p>\n Luna Gale<\/em> is a suspenseful, ethically-blurry play offering\u00a0a candid look at an intra-family custody dispute for the right to raise a minor child, determined by cases of addiction, assault and conflicting religious beliefs.<\/p>\n \u201cAre you Luna\u2019s mother?\u201d<\/em><\/p>\n Social worker Caroline is over-burdened by desperate cases at an under-funded Child Protective Services agency, especially when her gut instincts contradict by-the-book protocol. In one case, infant Luna Gale is hospitalized and removed from her stressed-out teenage parents Karlie and Peter, who are court-ordered to attend rehab groups for methamphetamine abuse – but the waiting list is too long. Karlie\u2019s divorced mother Cindy, a nurse\u2019s assistant and born-again Christian, seeks to adopt Luna with her Pastor\u2019s guidance, but against her daughter\u2019s wishes. Unspoken motives surface through unconventional methods while belief systems and best intentions are tested as all question how to best take care of children.<\/p>\n REVIEWS<\/strong><\/p>\n “Smart and absorbing” –New York Times<\/a><\/p>\n “One of this year’s most valuable additions to American drama…exploration of beaten up characters desperately searching for miracles, from drugs, from God and, yes, from even the DHS, where a social worker tries to heal her own wounds through helping others in distress.” –LA Times<\/a><\/p>\n “Social workers are rarely portrayed on stage and films as anything other than instruments of unfeeling bureaucracies. \u201cLuna Gale\u201d reminds you of what a thankless but essential job they do, with only the equivalent of watered-down Elmer\u2019s Glue to patch cracks and fissures in a dysfunctional society.” –Seattle Times<\/a><\/p>\n<\/div>\n ABOUT THE PLAYWRIGHT<\/strong><\/p>\n Rebecca Gilman is an Artistic Associate at the Goodman in Chicago. Ms. Gilman\u2019s plays include Luna Gale, A True History of the Johnstown Flood, Dollhouse, Boy Gets Girl, Spinning Into Butter, Blue Surge<\/em> (all of which were commissioned and originally produced by the Goodman), The Glory of Living, The Sweetest Swing in Baseball, The Heart is a Lonely Hunter<\/em> and The Crowd You\u2019re in With<\/em>.<\/p>\n Ms. Gilman is the recipient of a Guggenheim Fellowship, The Harper Lee Award, The Scott McPherson Award, The Prince Prize for Commissioning New Work, The Roger L. Stevens Award from the Kennedy Center Fund for New American Plays, The Evening Standard Award for Most Promising Playwright, The George Devine Award, The Theatre Masters Visionary Award, The Great Plains Playwright Award and an Illinois Arts Council playwriting fellowship. Boy Gets Girl<\/em> received an Olivier Award nomination for Best New Play and she was named a finalist for the 2001 Pulitzer Prize for her play, The Glory of Living<\/em>.<\/p>\n She is a member of the Council of the Dramatists Guild of America and a board member of the ACLU of Illinois. She received her MFA in playwriting from the University of Iowa. Ms. Gilman is an associate professor of playwriting and screenwriting at Northwestern University as part of its MFA in Writing for the Screen and Stage program. \u00a0She is the recipient of a Global Connections Grant by Theatre Communications Group and an American Scandinavian Foundation Creative Writing Grant for the development of a new play in conjunction with G\u00f6teborgs Dramatiska Teater in Gothenburg, Sweden: R\u00f6dvinsv\u00e4nster (Red-Wine Leftists): 1977.<\/em><\/p>\n<\/div>\n<\/div>\n
\nThe (Curious Case of the) Watson Intelligence<\/strong><\/em><\/p>\n![\"Watson-Ticket-Web\"](\"https:\/\/cohoproductions.org\/old\/wp-content\/uploads\/2017\/07\/Watson-Ticket-Web-e1501532047149-239x300.jpg\")
<\/a>deline George
\nDirected by Philip Cuomo
\nFeaturing\u00a0Gavin Hoffman, Sarah Ellis Smith and Eric Martin Reid<\/p>\n
\nYear of the Rooster<\/strong><\/em><\/p>\n![\"Year-of-the-Rooster-Ticket-Web\"](\"https:\/\/cohoproductions.org\/old\/wp-content\/uploads\/2017\/07\/Year-of-the-Rooster-Ticket-Web-253x300.jpg\")
<\/a>Olivia\u00a0Dufault
\nCo-produced by Rolland Walsh; Featuring Michael O’Connell and Rolland Walsh
\nDirected by Alexandra Kuechler-Caffall<\/p>\n
\nThis Girl Laughs, This Girl Cries and This Girl Does Nothing<\/strong><\/em><\/p>\n![\"This-Girl-Ticket-Web\"](\"https:\/\/cohoproductions.org\/old\/wp-content\/uploads\/2017\/07\/This-Girl-Ticket-Web-253x300.jpg\")
<\/a>egan Kruckemeyer
\nCo-produced by Tamara\u00a0Carroll & Beth Thompson; Directed by Tamara Carroll; Featuring\u00a0Alex Ramirez de Cruz, Jen Rowe, Beth Thompson, Duffy Epstein, Conor Eifler and Sharon Mann Metts<\/p>\n
\nLuna Gale<\/strong>\u00a0<\/em><\/p>\n![\"Luna-Gale-Ticket-Web\"](\"https:\/\/cohoproductions.org\/old\/wp-content\/uploads\/2017\/07\/Luna-Gale-Ticket-Web-253x300.jpg\")
<\/a>by Rebecca Gilman
\nCo-produced by Danielle Weathers; Directed by Brandon Woolley; Featuring Sharonlee McLean, Danielle Weathers, Shannon Mastel, Marian Mendez, Kelsey Tyler, Jacob Camp and Nick Ferrucci<\/p>\n![\"cropped-CoHoProductions_logo-1.jpg\"](\"https:\/\/cohoproductions.org\/old\/wp-content\/uploads\/2016\/07\/cropped-CoHoProductions_logo-1-150x150.jpg\"){kind=logo}
<\/a>CoHo Season 17\/18 TICKET PRICES<\/strong>
\n$98\u00a0Season Subscription
\n$80\u00a0Season Subscription +65\/-30
\n$32\u00a0Standard Single Ticket
\n$25\u00a0Single Ticket +65\/-30
\n$20 Thrifty Thursday Ticket<\/div>\n
\n<\/div>\nSeptember 8 – September 30, 2017<\/h3>\n
\n<\/em>The (Curious Case of the) Watson Intelligence<\/strong><\/p>\n<\/a>y Madeline George
\nDirected by Philip Cuomo
\nFeaturing Gavin Hoffman, Sarah Ellis Smith and Eric Martin Reid<\/p>\n
\nhttp:\/\/www.madeleinegeorge.com\/<\/a><\/p>\n
\n<\/div>\nOctober 27 – November 18, 2017<\/h3>\n
<\/a>CoHo Productions and Rolland Walsh present
\n<\/em>Year of the Rooster <\/strong><\/p>\n
\nDirected by Alexandra Kuechler-Caffall
\nFeaturing Michael O’Connell and Rolland Walsh<\/p>\n<\/div>\n
\nDufault has laid a foundation of pathos.” –New York Times<\/a><\/div>\n
\nFebruary 9 – March 3, 2018<\/h3>\n
<\/a>CoHo Productions with Tamara Carroll & Beth Thompson present
\n<\/em>This Girl Laughs, This Girl Cries, This Girl Does Nothing<\/strong><\/p>\n
\nDirected by Tamara Carroll; Featuring\u00a0Alex Ramirez de Cruz, Jen Rowe and Beth Thompson<\/p>\nThis Girl Laughs, This Girl Cries, This Girl Does Nothing #CoHoSeason22<\/span><\/a>\n
\n<\/div>\nApril 20 – May 13, 2018<\/h3>\n
<\/a>CoHo Productions with Danielle Weathers present
\n<\/em>Luna Gale<\/strong><\/p>\n
\nDirected by Brandon Woolley; Featuring Sharonlee McLean, Danielle Weathers, Shannon Mastel, Marian Mendez, Kelsey Tyler, Jacob Camp and Nick Ferrucci<\/p>\n<\/div>\n
![\"cropped-CoHoProductions_logo.jpg\"](\"https:\/\/cohoproductions.org\/old\/wp-content\/uploads\/2016\/07\/cropped-CoHoProductions_logo-150x150.jpg\"){kind=logo}
<\/a>For 22 years,\u00a0CoHo Productions\u00a0has pioneered artist led co-production as a model of creating theatre. Each season, CoHo solicits scripts and project proposals from Portland\u2019s community of theatre professionals and selects three to produce in partnership. The artistic vision is democratic, reflecting the tastes of the Portland theatre community from the ground up. Seasons are diverse and unpredictable; the sole quality nurtured and insisted on is excellence.<\/div>\n