Teen Perspective: GOOD GOODS

Teens Anya Richkind and Alona Bach weigh in on Crowded Fire's production of Good Goods, a haunting new play by Christina Anderson. [SPOILER ALERT!]

Yahya Abdul-Mateen as Stacey and Armando McClain as Wire in Good Goods; photo by Pak Han.

We walked towards the theater, realizing that we knew hardly anything about Good Goods, the play ahead of us. Maybe it’s about punny yet reliable products? Anya thought to herself, and hopefully didn’t say out loud.

Now, I can safely say there was no way we could’ve know what we were getting ourselves into. Good Goods cleverly lures the audience into a hammock of security, before seamlessly capsizing the hammock entirely.

Though the entire play takes place in a general store in a small Black town, the brilliant Christina Anderson (selected by American Theatre Magazine as one of 15 up-and-coming artists "whose work will be transforming America's stages for decades to come") takes each audience member on a journey of longing, nostalgia, and eventually accepting the often latent truth.

Lauren Spencer in Good Goods;
photo by Pak Han.

Anderson’s strength lies in the complexity of the interpersonal relationships she builds. Stacey Good (played by Yahya Abdul-Mateen, alluring in his controlled quietness) returns from his life on the road, followed quickly by Patricia (a powerful Mollena Williams). The terms “ex-lovers” or “confused divorcees” do not begin to capture the subtlety of Stacey’s relationship with Patricia, his partner in his stand-up comedy routine and the woman with whom he has traveled for the last ten years. Anderson blurs the line between familiarity and love, leaving the audience to decipher who has true feelings for whom - that is, if anyone sincerely does care about anyone else.

Just when the tapestry of interpersonal relationships appears to be weaving itself towards completion, Anderson masterfully injects an element that changes the entire scheme: what if one person is no longer herself? When Sunny (a dynamic Lauren Spencer), the initially sweet, bright-eyed girl from another town, begins speaking as a rough-tongued member of the recently deceased, the entire foundation of the town -- shrouded in legend and mystique -- is brought into question.

Anderson skillfully juxtaposes the violence of Sunny’s possession with the tenderness between lovers-to-be, leaving audience members with the same simultaneous longing and paralysis that the characters feel. Ultimately, Good Goods is a story of accepting what is true, instead of what is familiar or expected.

SEE FOR YOURSELF: 8 p.m. Wednesdays-Saturdays. Through June 23. $8 with your 8Rate pass. Boxcar Playhouse, 505 Natoma St., S.F. (415) 255-7846. www.crowdedfire.org.

Rock the Ground Whereon These Sleepers Be...

If you haven't yet seen A Midsummer Night's Dream by OakTechRep (Oakland Tech's award-winning, internationally-touring theater company) you still have two chances to do so. And I promise you it is well worth it.

While some of the Shakespearean English was a bit hard to understand (there was some mumbling), this show still qualifies as the single most entertaining Shakespeare production I have seen yet. Ena Dallas's choreography was dynamic and eerily beautiful, constantly evoking an underground rave/party world. The lovers are preppy high school students entering a forbidden and confusing party world, the Mechanicals are steam punks, and the fairies are acrobats and belly dancers.

This show was promoted as a party, despite the fact that it is a Shakespeare play. This was not false-advertisement. There is even a gloving demo and light shows by the Illusionist before the show and during intermission . You will remain enthralled throughout the performance and leave ready to dance the night away.

There are two more performances of A Midsummer Night's Dream: Saturday, April 28th at 7pm and Sunday, April 29th at 2pm. The show is held in the Oakland Tech auditorium on the corner of 42nd & Broadway (enter through the side gate). Discount tickets ($5 for students, $8 general) can be purchased on Brown Paper Tickets. Tickets at the door are $8 for students, $10 general. This show may not be suitable for children younger than thirteen.

See you at the theater!

On Buy-In

Yesterday, I saw a show. And yes, this is no different than normal: I see shows all the time. So why was last night different from all other nights*?

*Besides the fact that it was, in fact, Passover.

Well, I'll set the stage a bit first. Usually, my reason for seeing a show is one (or more) of the following:

- I know someone involved in the show (actor, director, designer, playwright, etc.)

- I like the theater's work in general

- I've read good things about it (e.g. reviews or Facebook stati)

...and any combination of these will put a show on my radar, if not my calendar.

But last night, I was in Minnesota instead of my Bay Area home (What to do on a night off in a new city? See theater! Of course.), and I went to see a show at a small theater company that I'd never heard of (I discovered it the night before while – gulp – surfing the web). I didn't know anyone in the show or working on the show or even talking about the show. Heck, I barely even knew what the show was about beyond the small blurb on the website. And I realized something scary: I would feel just as happy about going to the show as not going to the show.

And then I realized that this is how most teens feel. This is where most teens stand in relation to the shows that the theater community embraces and praises and remembers fondly – in the Land of Ambivalence. Because, sure, intellectually, I knew I'd probably enjoy it; enjoying theater in general is the reason I've developed a theater-going habit. But emotionally – meh. I was detached. There was nothing specific drawing me to the theater instead of staying at home on the computer, and I was missing the buy-in.

But...what's a buy-in?

A buy-in is probably exactly what you think it is, and basically just what it sounds like. It can be anything that hooks in the potential audience member (henceforth referred to as P.A.M., or PAM) and piques their interest. It's what can give the PAM ownership (or at least imagined ownership) over some part of the show; it's the commitment and the basis for the want to go to the theater. Most importantly, a buy-in is what lets the PAM know what they're missing if they don't come see the show.

Here are some examples. (You know these already, I guarantee you, but they're here in a list for good measure -- and because sometimes teen audience members need to say these things themselves.)

***

Super good press photos. Pak Han's work is a great example. Take one look at any of his photos and you want to see more. Why did this moment happen? What frozen moment in the story is this, and why is that lady wearing that?

Beardo at Shotgun Players; possibly one of my favorite Pak Han photos ever. I mean, give it even just a cursory glance and I dare you to say you're not dying to see that show.
(Fun Fact: the show was as good as the picture suggests.)

Backstage tidbits. It sounds silly, but few things are more enticing than being in on a secret, and backstage stories and jokes are inherently mysterious. Write a short blog post about rehearsal antics. Take a photo of the prop table and post it to Facebook. Examples? Check out Marin Theatre Company's Production Gnome or our favorite new thespian (who recently made his debut at Impact and will return soon for his second show), Tamaaron Ishida-White.

An easily-navigable website. All the information (dates, times, locations, artists, etc.) should be able to be reached easily through one page. Marin Theatre Company does this really well. So does Impact Theatre, SF Playhouse, and Woolly Mammoth. These theaters present an easy-to-read overview of general information, while still allowing you to explore the show further without putting in too much effort. (N.B. Teens want things fast. [Older audience members probably do too. We'll keep you posted when we grow up.]) With all the information in one place, even just clicking on "Learn More" can give a PAM ownership of their mini-"research" process, and boom! Buy-in.

Relatability.  Does the show have a conflict or theme that people can relate to? Let them know and invite them to think about it. Ask about the moment your PAMs first realized Santa wasn't real. Or how they dealt with loss of a loved one. Or the the terribly embarrassing accident they had. If a PAM sees him- or herself in a character in the show, buy-in is infinitely easier.

Trailers. Are awesome. Period. Live footage is great when you can get it, but still photos are also interesting. Other fun things to include: someone talking about the show or characters in an exciting new way, the actors' or designers' perspective, the reasons for special choices you made in your production. Even just listening to the background music can be informative -- it reflects the tone of the show. (Two favorite trailers that you should take a look at? God's Plot and God's Ear at Shotgun Players. I still watch them. They're great.)

***

There are so many ways to create buy-in, but in the end, buy-ins are a two way street: half of the buy-in has to come from the PAM. You, as the theater, can cast as many lines into the river as you want, but it's still the PAM who has to want to take the bait. (And all those PAMs not necessarily wanting to take the bait is a whole conversation about current cultural practices that I'm positive someone has written a fantastic article about already and I would certainly link to it if I had the link.)

So yes. I came into my show, Where We're Born at 20% Theatre Company Twin Cities, blind and emotionally detached, and this was mostly my fault. I didn't take the time to look for my buy-in (even though I'm easy as PAMs go and it doesn't take much to pique my interest). But here's the bad part. Without this buy-in, I allowed the specifics of seeing the show to worry me...and even make me reconsider going (N.B. for any box office people out there clucking at the possibility of me being a no-show, don't worry: I hadn't reserved a ticket yet). And there were a lot of specifics that worried me. I didn't know where the theater was; Minneapolis isn't a place I'm really familiar with. The synopsis of the play that I found on the website wasn't really vague, but it was open-ended and I couldn't really tell anything about the tone or language of the piece -- so how did I know if it would be something I'd like? Or worse, since I knew nothing about any of the artists or the theater company, how could I tell whether the show would be just plain bad? I didn't have the energy to google reviews or photos of past productions, or even click through the links on the website for their history (I know, I know...). And the website, while not messy, didn't immediately shout out to me: "Hey, this company's cool!". It's silly and sad and kind of embarrassing, but we children of the technological age subconsciously have learned whether or not to trust organizations based on the quality of their website. (We're working on it.)

I was stuck. To go or not to go? It was a toss-up. At that moment, I didn't care, and that scared me.

So what happened? In the end, I went because
a) I knew I wanted to see some theater, and
b) since it was a pay-what-you-can night (!), I wouldn't feel bad about spending, say, $25 on a show I might (gasp) hate. 

I paid $10 for me and my brother at the door, and we went in with no expectations whatsoever for the content or quality of the show. When the house lights came up at the end, my brother and I let out our breath -- that second act was IN-TENSE. And the show was so good! Not exactly what I'd been expecting from the blurb, but funny and upsetting and passionate and strong. The lead female was engaging and we found ourselves studying the program for the actors' names and upcoming projects, despite the fact that we'd be out of town. Ironically, the venue and atmosphere reminded us of San Francisco (I'm not sure if that's a testament to the universality of theater/theater spaces or just us being weird). I was glad I went and hadn't let my reluctance pull me away, and I found myself wishing that there was a Universal Personalize Gauge for Theatrical Awesomeness (which would rate every show for you personally before you buy a ticket to see it, obviously) -- or something of the sort so that I wouldn't make the mistake I almost made last night again. But alas. There isn't. That initial buy-in is all we have (right now, at least).

So! We teens challenge you theaters to continue to think up ways to create buy-in for a broadening audience. And as Up Next, an initiative working every day to bring more teens to theater, we're looking for ways to create buy-in for every show at all of our 8Rate theaters -- about 5-8 at once. A daunting task, but we're up for it.

Now 20% Theatre Company Twin Cities has my buy-in -- and I'll be back in the audience for the reading tonight.

________________________________

- Alona Bach

In a Nutshell...

...This is the word we want to spread.

Get your 8Rate card here.

Also, here's a taste of what we're working on "behind the scenes":
- A Next Night Out to Titus Andronicus at Impact Theatre in Berkeley (3/10)
- A Teen Advisory Board meeting (3/11)
- Partnership with exciting new theaters (We can't say any names yet, but we will say that there are 3 or 4 on their way!)

Audi-Lescents: Teens and Theater

Does anyone remember that panel discussion that we had a really long time ago? Right, I thought so...

In case you missed it, here are the highlights:

P.S. (SPOILER ALERT): We love the theater party bus idea!



-Saskia Levy-Sheon

Exciting News!

Have you heard the buzz about our 8Rate program? We're organizing $8 rush tickets for teens at as many Bay Area theaters as we possibly can. That means that any seats still available on the day of the performance can be bought by teens (ages 13-19) for $8 (less than a movie ticket) -- all that you have to do is show up to the box office with your 8Rate pass, an ID that shows age, and $8 in cash. Sounds easy? That's because it is.

Now for the news: we're incredibly excited to announce that we've got two more theaters on board for this program: Pear Avenue Theatre and TheatreFIRST!

PEAR AVENUE THEATRE
"We present stunning, beautifully acted productions of new works, classics, and contemporary plays in an intimate setting."
Where? The Pear Avenue Theatre (1220 Pear Avenue, Mountain View, CA)
Box Office Number: 650-254-1148
What's Up Next: A Moon for the Misbegotten


THEATREFIRST

"Committed to bringing you the best in professional theater in an intimate space at affordable prices."
Where? Berkeley City Club (2315 Durant Avenue, Berkeley, CA)
Box Office Number: 510-436-5085
What's Up Next: Oleanna

Thanks so much to the staff of Pear Avenue Theatre and TheatreFIRST -- we're looking forward to seeing your shows!

Our updated list of current participating theaters:
Pear Avenue Theatre
TheatreFIRST
Custom Made Theatre Co.
Crowded Fire Theater (details still in progress)

Are you a teen? Get your 8Rate pass here!
Are you a theater? Sign on for our 8Rate program here!

Introducing 8Rate

As part of our initiative to make theater more accessible to Bay Area teens, we've just introduced a new program called 8Rate. Here's the run-down:

What is 8Rate?
8Rate is program where teens can get rush tickets for shows at a flat rate of $8 -- that's less than most movie tickets, which we think is pretty cool.

How does the 8Rate program work?
1) Pick a show at any participating theater (current list of theaters here).
2) On the night that you want to see the show, arrive at the theater no later than 15 minutes to show-time (the earlier you arrive, the higher your chance of getting in).
3) Show your UP NEXT MEMBERSHIP CARD at the box office and ask if there any rush tickets available. (Don't have one? Get one here.)
4) If there are seats available, you can buy a ticket for $8 (cash only).

The Theaters
Even though we just introduced the 8Rate program, here's a list of super-awesome and very generous theaters who've already signed on (more to come soon!):
Custom Made Theatre Co.
Crowded Fire Theatre (limited participation)
plus a few more in the works...

If your theater wants to participate the 8Rate program, let us know!

NEWPLAY TV: Theater via Livestream

Two teens converse about New Play TV, the #newplay initiative that can be found on www.livestream.com/newplay

Watch live streaming video from newplay at livestream.com

A: As a bit of background, first let’s talk about what New Play TV is, exactly. I guess I’ll do the intro...

According to its profile on its livestream page, New Play TV is “a shared-resource for live events and performances relevant to the new works theater field. #NEWPLAY TV's mission is to break geographic isolation, promote resource sharing, and to develop our knowledge commons collectively.” So basically, it's a livestream channel that archives past livestreams, and it's devoted to a conversation about creating new plays in different places. If you take a look at the archives, you can find a whole spectrum of events relating to new plays that were livestreamed: symposiums, conferences, panel discussions, and even live performances (my personal favorite). I first heard about it through the very active, always interesting #newplay community on Twitter, and I’ve really enjoyed watching the conversations about play development (and, of course, the plays themselves). And we’ve both watched...two New Play livestreams so far? On The Spectrum (from Mixed Blood Theatre in Minnesota) and the SF One Minute Play Festival (from Playwrights Foundation in San Francisco), right?

Y: Well, two [things] -- I missed seeing On The Spectrum live, but I still watched it afterward from the recordings.

A: Gah, a mere technicality. But we both really liked that one. Here's a bit of background for you readers: Mixed Blood Theatre has been getting talked about a lot lately, especially since it introduced its Radical Hospitality program, which provides no-cost seats to any audience member starting in the 2011-2012 season -- pretty awesome. (That’s a whole ‘nother conversation, but I really recommend checking the link out and reading up about it.) For me, getting to see a Mixed Blood show from the Bay Area was one of the most exciting parts of that livestream, but I remember hearing you say that the show and the choice to broadcast it really resonated with you for other reasons.

Y: Yes. On The Spectrum dealt with the issues and realities of autism -- what it is, how it is handled, how it is perceived. Autism is being diagnosed more and more often as time passes, and yet it remains rather misunderstood and misrepresented. On the Spectrum provides a window into that world, in an understandable and relate-able medium, and as such is a necessary experience for anyone who -- by a friend, a relative, or anything -- will ever interact with somebody on the Autism Spectrum. The decision to livestream On The Spectrum allowed its message and its vision to reach not only the patrons of the theatre, but the entire World Wide Web, regardless of where they were when. The availability of the recording allows any autistic person online -- “all [those] people who everyone thought couldn’t talk, or were retarded, [but began] communicating online and their brains were suddenly revealed”, as Iris says it in the play itself -- to see the play, and pass it along, providing a much-needed platform for discussion and understanding. That ability, to watch it, and understand it, and spread it, is essential to the goal of the play, and a perfect example of why a play should be livestreamed. (more on On The Spectrum here)

A: We actually went to see the SF One Minute Play Festival live, and then watched it on livestream the next day. That was lots of fun. The One Minute Play Festival happens across the country in different theaters -- I think the next one happens at Boston Playwrights Theater. I enjoyed seeing the show more in the theater – you get the whole atmosphere of show-going there – but I confess that I found it nice to be able do some laundry-folding/other household tasks during intermission the second time around (i.e., during the livestream), and I LOVE being able to watch it as many times as I want. And again, like you said before, it allows people who wouldn't otherwise be able to see the show (whether because of physical and/or geographic limitations, or just because there aren't enough hours in the day) to see it. For example, playwright Marisela Treviño Orta (who had two plays in the festival), watched the show over livestream, and through the Twitter integration on the right had side of the streaming page was able to interact with the show while it was happening, which I thought was exciting to watch as well.

SIDE NOTE: Possibly one of my favorite results of this livestream: I can listen to “One Minute Musical” by Lauren Gunderson as many times as I want to. (Current iTunes playcount: 17) I also can show the one minute plays to friends in any place at any time (most recently, “Hamlet” by Aaron Loeb with someone in Boston). (Even though that last bit sounded like a commercial, I didn’t intend it to. I actually really enjoy being able to share theaterical experiences with as many friends as possible -- and the “inside” jokes that are subsequently understood/created as a result are great.) And because I don’t fully understand all of the legal-y stuff, will you talk a bit about Creative Commons and what it means for New Play TV broadcast to be published under it?

Y: Okay. Creative Commons is a set of “copyleft” licenses -- copyright licenses designed to encourage and foster sharing, copying, and redistributing the licensed work, as opposed to normal copyright licenses, which restrict copying. Creative Commons allows people to redistribute, remix, and share anything they want that’s licenced with it. What that means, in this case, is that you have a bunch more options than you otherwise would with the recordings. Because it’s under a Creative Commons license, you can copy to your computer and make your own copy of the videos of On the Spectrum, or (as I’ve done) copy the audio track of "One Minute Musical" so you can listen to it on your iPod, and if you wanted, you could use parts of the festival or play in, say, your own music video, or rap, or some “remix theatre”, where you splice everybody’s words together to make your own script (A One Minute Play made out of clips from the One Minute Play Festival, maybe?). You can do it -- and the only thing it requires is that you let other people, if they want, be able to use your own creation in the same way, by also releasing it under a Creative Commons license.

A: Yes, you definitely explained that better than I could have. One last question: did you have any favorite plays from this year’s One Minute Play Festival? (I'm declining to answer this question because I'm extremely biased. I will say, though, that Aaron Loeb's “Hamlet [as Recited to and Transcribed by Siri on the iPhone 4S]” [here at 36:15] and Lauren Gunderson's “One Minute Musical” [here at 1:36:28] have seen the most replays via my computer. And there's no bias there. Just awesomeness.)

Y: Well, I’m really bad at picking favorites -- especially when there are so many which I enjoyed to much, but I’ll try. I’ll probably miss one or two, though. Or five. Or, you know, seventy-minus-however-many-I-do-choose. But a few that really stuck out to me (that you haven’t already mentioned), were, definitely “Acting Like Children’s Story” -- ‘**** GOODNIGHT MOON!!!’ got me cracking up (at 1:27:33); in “What Particular Skills Do You Bring To The Workforce” I found the awkward, not-really-sure-of-himself interviewee who was asked to talk about himself really endearing (at 51:42); and I loved the thoughts-during-meditation of “Zazen”, by Geetha Reddy (at 43:45).
But really, pretty much all of them.

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Want to stay up-to-date on New Play TV and the #newplay conversation? Keep your eye on the NewPlayTV Livestream and like it on Facebook; follow the #newplay conversation via Twitter, the New Play blog, or Howlround. 

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To learn more about Up Next, visit our website, like us on Facebook, follow us on Twitter, or add us to your circles in Google+.

2012: So, What's Up Next?

 "Lord, we know what we are but know not what we may be." 

~ Ophelia, Hamlet IV.4

By now, everyone who is reading this is probably sick of reading “Looking Back and Looking Forward” posts, but since this is Up Next's first year as a non-profit, I thought it would be especially nice -- almost necessary, maybe -- to wrap things up with 2011 and introduce what's up for Up Next in 2012. Not only will this give all of you teens, theaters, and other arts supporters an idea of where we are and where we're headed, but it will also serve to hold ourselves accountable for the goals we set this year (because now that you've seen them, we can't pretend we never set them).

But first, you might be wondering -- who are "we", really? There are three of us behind the main Up Next operations (which consist of theater communications, organizing events and outreach, marketing, and more): Alona Bach, Saskia Levy-Sheon, and Kenya Granich. (You can read more about us here.) And if you know us, or know of us, or just read about us, you'll know this: we're all teens. Though we technically have several legal adults in our ranks, we have no adult-adults working with us. And we think this is important, at least for our first year -- because we don't want to be adults telling teens that they should think that theater is cool. We want to be teens telling our friends that we think theater is cool, so hey, chill with us at a show instead of a movie, because you might find it cool too. Yeah. Maybe not in those words. But that same idea.

So here's to the past year that got us up and running, and to the upcoming adventures in the new year -- because we know what we are, but know not what's up next.

Highlights of the past year...
- We became fiscally sponsored by Fractured Atlas, and thus became an official non-profit.
- The wonderful Rob Dario designed our logo.
- Tim Bauer, a local playwright, wrote a lovely post about us on his blog.
- We made a splash at Cal Shakes' The Verona Project, where we numbered more than any other teen group that night -- and the show was awesome.
- We held a panel discussion on teens and theater-going, featuring teens Miguel Gamalinda and Naomi Zingman-Daniels, as well as Melissa Hillman (AD of Impact Theatre), Rachel Fink (Leader of Education programs at Berkeley Rep), and Simon Kaplan (theater teacher and Camp Director at Stagedoor Conservatory).

This coming year...
- In partnership with different theaters around the Bay, we'll be organizing a program called 8Rate, which will offer student rush tickets to card-carrying Up Next members for $8 (less than a movie ticket) -- more on this soon!
- Membership cards will be mailed out. (Want one? Go here!)
- In the works: a May Teen Theater Festival in a park, possibly?
- The fabulous Clio McConnell will switch over from her Teen Advisory Board position to the head of our Teen Reviewer program -- more on this soon.
- We'll sit down to write those press releases that seem so scary and send 'em off!
- We'll make a new website. A website that's more user friendly. And works in all browsers and on mobile devices. Which means that we need to...
- Seek out a web designer that can help us.
- You can now find us on Google+, though we're still primarily communicating through Facebook and Twitter.
- We'll figure out a better working model for the Focus Actor program -- our Teen Advisory Board selected two amazing Focus Actors (Reggie and Elena) for 2011-2012 season, but the program itself fell a bit to the wayside this past year while we focused on the more technical/legal aspects of running a non-profit. So we're going to get back on that horse, and hopefully get it in gear for the rest of this season!
- T-Shirts. Or sweatshirts. Or some other form of Up Next swag. It's coming.
- Perhaps some restructuring of our programs -- Next Night Outs seem to work, but not "Thumbs Up" events...hmmm.
- We hope to strengthen the Teen Advisory Board and make it a bigger part of our decision-making and development processes.
- Most importantly, we want to engage with the Bay Area teen community more, in person and online.

This past year, we focused on US -- how we could implement our own plans, how we could develop our own infrastructure. This coming year, we want to expand our focus more to YOU -- whether "you" means teens, arts administrators, teachers, or arts enthusiasts. We want to learn what fellow teens want in terms of theater-going, and then work on making those things happen. We want to hear your feedback.

Here are some of the questions we're facing as we move into a new year:
- How can we build up a strong infrastructure so that Up Next can function effectively? What should the role of the Teen Advisory Board be?
- What's the best way to structure the ticket-buying process? How can we find the right medium between advance reservations and wiggle-room (in case someone's homework load gets unexpectedly heavy)?
- How can we effectively engage and partner with schools?

And finally, we'd be remiss if we didn't thank lots of individuals and organizations who have helped get us on our feet this past year: Melissa Hillman, Jim Kleinmann, Erin Bregman, Jack Bauer, Valerie Weak, Laureen Mahler, Marilyn Langbehn, Tiffany Cothran, Michelle Dissel, Rob Dario, Simon Kaplan, Molly Aaronson-Gelb, Glenn Carroll, Sara Heitler, Focus Actors Elena Wright and Reggie White, Shotgun Players, Impact Theatre, Just Theater, Crowded Fire Theatre, and so many more -- not to mention adventurous teens. Thank you, thank you, thank you. We're looking forward to continuing to work with all of you in support of teen theater-going for many years to come.

- Alona Bach and the Up Next Team

Get in touch!
⦁ email us at info@upnextteens.org ⦁ comment on blog posts ⦁ tweet us ⦁ facebook us ⦁