OKCTC's Resistance

Oklahoma City Theatre Company is proud to announce season 19.

Behanding
A BEHANDING IN SPOKANE
by Martin McDonagh

A man’s tireless search for his missing left hand culminates in an explosive confrontation with two small-time con artists and a nosy, gun shy hotel receptionist.  Is Martin McDonagh’s recent Broadway comedy a dark and violent modern farce- or a study on America’s problems with racism?

Mr. McDonagh is one of the half-dozen finest playwrights in the English-speaking world.” —Wall Street Journal.
“Insane yet also fiendishly funny.”  —Bloomberg.com.

Approximately 90 minutes.  No intermission.  Due to the set and the intimate space of the CitySpace Theatre, late entry will not be permitted.


OKCTC's Moby Dick - The Musical
MOBY DICK
The Musical!
by Robert Longden and Hereward Kaye

Facing the closure of their rough and tumble school due to unpaid utility bills, The young juvenile delinquents of St. Godley’s School for Girls write and stage a spectacular musical production of Herman Melville’s great novel, MOBY DICK.   With unstoppable Headmistress Dorothy Hyman in charge (and doubling as Ahab!) and all of the young women playing the rest of the parts, and using anything they can find from the school as props, you’ll see how this hilarious musical comedy became a cult favorite during its run in London’s West End.


OKCTC's Round Dance


OKCTC's Hooded or Being Black for Dummies
Hooded or Being Black for Dummies

by Tearrance Arvelle Chisholm

Marquis and Tru are both fourteen year old black boys, but they exist in two totally different worlds. Marquis is a book smart prep-schooler living in the affluent suburb of Achievement Heights; while Tru is a street savvy kid from deep within the inner city of Baltimore. Their worlds overlap one day in a holding cell. Tru decides that Marquis has lost his “blackness” and pens a how-to manual entitled “Being Black for Dummies”. He assumes the role of professor, but Marquis proves to be a reluctant pupil. They butt heads, debate, wrestle and ultimately prove that Nietzsche and 2pac were basically saying the same thing.

Oklahoma City Theatre Company welcomes you.

As we begin our 18th season, BARELY LEGAL, we’re thinking about the varied meanings those words have for our audiences.  On the surface, it’s a fun celebration of our company’s reaching the age of maturity.  After 18 years, we’re the right age for being an “adult” theatre, and we are proud to continue to produce plays for grown-ups in Oklahoma City.

OKCTC has developed an identity as the professional company that seeks to be not only inclusive of, but an advocate for, millennial minority audiences.  Sometimes this means offering raunchy, campy musicals like SILENCE!.  More often it means doing the hard work of producing STOP KISS or THE MOST FABULOUS STORY EVER TOLD and asking audiences to engage in conversations about social issues that define and change communities.  We recognize that educational theatre doesn’t just mean theatre for children.  Adults seek theatre that educates as well, and theatre can be a powerful platform for communicating big ideas through empathy and entertainment.

While most of our shows are intended for audiences 18 years of age and older, we’re also offering BARELY LEGAL as our theme for a season of plays about issues of the world of 2016-17.  There are now thousands of married couples in the United States of America whose marriages are only recently, and perhaps feel “barely,” legal.  In the last year, we’ve been asked to publicly consider how the person entering the bathroom stall next to us might be “barely legal.”  There are daily conversations on social media about systemic, domestic, and sexual violence that is sometimes ruled barely, and frighteningly, legal.  In our own community is a history of prejudice that reminds us of how recently and often the public voices of underrepresented people were “barely legal.”

OKCTC creates opportunities for artists to perform plays that encourage audiences to experience a walk in someone else’s shoes, (hi)story from someone else’s perspective, and a laugh that isn’t at anyone’s expense. We are here to offer Live. Daring. Theatre. that is accessible to everyone and encourages empathy and communication between all members of our community.  This season, Tracy’s Lett’s dark satire, KILLER JOE, will deliver an experience that evokes revulsion and thought as audiences enter his violent, illegal, and barely legal trailer park world.  In Taylor Mac’s HIR, a 21st century dysfunctional family is the vehicle for sensational, dark comedy that inspires conversations about addiction, abuse, gender identity, and transformation.  BEYOND THE STRATOSPHERE is Oklahoma City Playwright La’Charles Purvey’s reflection about AIDS and the African American experience.  The Musical THE TOXIC AVENGER brings New Jersey’s Superhero to tackle global warming (and other bad guys), and our season features the 8th annual Native American Play Festival, which will feature Vicki Mooney’s new play BLOOD BOUNDARY about the 1921 Tulsa Riots.

Join us for a night at the theatre, and tell us what you think.  Larry Flint’s BARELY LEGAL club became an icon for shocking fun, and experiences you couldn’t have at home.  Our “adult night out” also offers to put you in the center of the action, with plenty to see and think about.  After 18 years, like Larry, we know what you want!

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Auditions

Volunteer Opportunities

Please contact us at contact@okctc.org to find out how you can volunteer with our Company.  We have opportunities to usher and see the show, or work backstage with costumes, props or other design elements, and even taking tickets at the door.  If you want to volunteer, we want to see you!

Native American New Play Festival

NANP Festival Design-01

OKLAHOMA CITY THEATRE COMPANY NATIVE AMERICAN NEW PLAY FESTIVAL MISSION

The Oklahoma City Theatre Company Native American New Play Festival mission is to showcase stories for the stage authored by Native American, First Nations, Alaska Natives, Hawaiian Natives, and Indigenous Mexico artists. We are especially committed to voices that honor and bring distinction to the 39 Native Nations who call Oklahoma home.  We invite our audiences to experience high quality productions from the growing cannon of new indigenous work that creates space for indigenous voices on the American stage. We aim to produce theatre that fosters appreciation and understanding of our distinct and collective cultures, histories, lifeways and contemporary issues found in our way of storytelling and theatre making.

OKLAHOMA CITY THEATRE COMPANY NATIVE AMERICAN NEW PLAY FESTIVAL VISION

Oklahoma City Theatre Company Native American New Play Festival envisions a thriving, vibrant and sustainable creative space that gives voice and presence on stage to indigeneity. We envision an on-going annual gathering that draws audiences and artists alike to experience, investigate, reflect, and witness indigenous visibly on stage in Oklahoma City.

OKLAHOMA CITY THEATRE COMPANY NATIVE AMERICAN NEW PLAY FESTIVAL VALUES

Oklahoma City Theatre Company Native American New Play Festival values community collaboration and partnerships with all constituents who recognize the power of indigenous voices revealing untold stories, histories and socio/cultural issues on the American stage. We value the artistry and passion of our performers whose presence and participation fearlessly bring our stories to life. We value the skill and leadership of our directors, stage managers, designers, production and company personnel who guide and support us. We are inclusive to all audiences and all artists who share and contribute to our collective efforts.

Archive of Previous Seasons

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