Donna Orbits The Moon
A Filmed Play Reading
by Ian August
October 2-5, 2020
Directed by Kandace Crystal. Cast includes Susan Clausen as Donna & Eric Poppick as The Voice
Something is not quite right with Donna: She’s a loving mother, a devoted wife, and a minor celebrity to all the bake sale planners in town, but something is making her spacey, and she’s not sure what it is. Therapy is out of the question and church isn’t the place to share one’s distress. Donna will need to pass through space and through time—all the while listening to an unlikely voice—and try to break free from her gravitational pull to learn just how she can land.
A co-production with Scripps Ranch Theatre
How to Watch:
All tickets for this event are $22 (includes $2 service fee) and may be purchased with PayPal or credit card by clicking the “Buy Now” button below:
- All patrons who have purchased tickets will receive an email with a unique link to stream the production. This link will be available from noon on Friday, October 2nd to noon on Monday, October 5th. You may view the production at any time during this window.
- Questions? Please email: firstname.lastname@example.org
Cast and Team
Eric Poppick (The Voice) Eric recently moved to Medford, Oregon after spending 40 years in Los Angeles and San Diego, working as an actor and director for stage, television and film. Theatre roles include: From Another House: Old Globe Theatre. BUG, In the Heat of the Night: ion theatre. Beau Jest, Barefoot in the Park: AVO Theatre. An Enemy of the People: Intrepid Shakespeare Company. Awake and Sing!, To Kill a Mockingbird, Death of a Salesman, Golden Boy, Four Dogs and a Bone: New Village Arts Theatre. The History Boys: Cygnet Theatre. Morning’s at Seven: North Coast Repertory Theatre. The Heir Apparent, The Sunshine Boys, How the Other Half Loves, Deathtrap, Not Now, Darling: Scripps Ranch Theatre. One for the Road: Lyceum Theatre.
While in San Diego, Eric directed the world premiere of Ripples from Walden Pond at Cygnet Theatre and the world premiere of W.C. Fields by Himself! at North Coast Repertory Theatre. He also directed seven productions for Scripps Ranch Theatre: Play it Again Sam, Over the River and Through the Woods, a feminine ending, Sunset Park, Skin Deep, Good People and For Better. Eric served on the board of directors for the Scripps Ranch Theatre for ten years.
Ian August (Playwright) Ian August is an award-winning, internationally produced playwright. His full-length plays include: Brisé (Selection, 2019 Great Plains Theatre Conference, Finalist 2019 Seven Devils Playwright Conference); The Excavation of Mary Anning (Winner, 2018 Ashland New Plays Festival and 2018 DVRF New Playwright Program, Semi-Finalist 2018 O’Neill Conference); Interviewese (Winner Garry Marshall Theatre New Works Fest, Finalist 2018 New Comedy Fest B Street Theatre); Cobbler (Finalist 2019 New Comedy Fest B Street Theatre); The Goldilocks Zone (Passage Theatre Company, Semi-Finalist 2015 O’Neill Conference); Donna Orbits the Moon (NJ Repertory Company, Utah Contemporary Theatre; Barbour Memorial Playwright Award, 2010); Missing Celia Rose (NYC Summer Play Festival; Orlando Shakespeare Theater’s “Playfest 2009,” Bermuda Musical and Dramatic Society); Submitted by C. Randall McCloskey (2011 New York International Fringe Festival); The Moor’s Son; Everything you Can Do (to Make the World a Better Place); and Zero.
His YA play, Parker and the City in the Sea, debuted at the 71st Edinburgh International Fringe Festival in the summer of 2018. Other works have been published by Samuel French, Inc., The Pitkin Review, Smith and Kraus Publishing, and the One-Act Play Depot.
Mr. August is a founding member of the Princeton-based playwriting collective, the Witherspoon Circle, and is a graduated member of the Philadelphia playwriting workshop, The Foundry.
So sometimes, you hear voices. When you’re a playwright—and not all playwrights experience this, but I know many who do—there are times when you’re minding your own business, cleaning the house, driving to work, ordering sesame noodles from the local Chinese place, and the voices, well, they just start talking. Sometimes individually. Sometimes in pairs. Sometimes in groups. Sometimes they talk to one another. Sometimes they talk to you.
Donna began talking to me in my kitchen in the autumn of 2010, as I was mixing the batter for a tray of blondies. She was angry, and she wasn’t quite sure why, and once the blondies were in the oven, I realized that I had to help her figure it out. She was someone I had never met before, this Donna, but as I wrote, her voice became clearer and clearer, and her world took shape around it, and it was a world that was not mine, but was becoming increasingly clear that it was also mine. Her frustrations were my frustrations, her denial was my denial, and her anger… well, I had to claim that as well.
Donna Orbits the Moon was born at a time when our country was trying to decide what kind of a place it wanted to be. We had a progressive in the White House whose ambitions were stifled by a conservative legislative body and a gridlocked Supreme Court. We had the Tea Party. We were a nation at war—we had troops in Iraq and Afghanistan—and were failing our returning troops with interminable wait times at VA hospitals whose sole purpose was to provide them the care they required. It was a time of frustration—across all party lines—in which many of us were angry about so many things, although I think, at the time, we weren’t always certain as to why.
I think Donna’s voice helped me own up to it all. I think her journey helped me reckon with the things that frightened me most about our changing country. I think she allowed me to see the planet in a way I hadn’t ever seen it before: how small our lives are, and how big the universe is around us. But also how big our lives are, and how small the universe is around us.
Donna Orbits The Moon received its world premiere at New Jersey Repertory Company, Long Branch, New Jersey
SuzAnne Barabas, Artistic Director Gabor Barabas, Executive Producer
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