By Helen Edmundson
Directed by Pamela Moller Kareman
with Hamish Allan-Headley, Quinn Cassavale, Lauren Currie Lewis, David Licht, Neal Mayer, Ron Sims, Jakob von Eichel, and Tessa Zugmeyer
In this gripping drama, Robert, an English aristocrat, and his free-spirited Irish wife Maddy find their loving relationship overwhelmed by the dangerous political climate in Ireland, which threatens to separate them for good. Should Robert ensure his own economic prosperity by betraying his wife and child, or should he risk banishment to inhospitable land to keep his family intact?
Set against Oliver Cromwell's ruthless campaign to force Catholics out of Ireland, Helen Edmundson's brilliantly original and heartbreakingly relevant play The Clearing examines our universal desire for acceptance amid prejudice and fear in a stunning tale of treachery, romance, and passion.
Theater 808 is an artist led company dedicated to producing the purest and most provocative interpretations of classic, contemporary and new works by way of a dynamic and deeply connected ensemble. Guided by the message of renowned acting teacher Fred Kareman, the company seeks to foster theater that is organic, spontaneous and alive -never ceasing to strive for excellence in their work. Theater 808 is also deeply committed to supporting other not-for-profits in the community either through monetary donations or affordable opportunities to experience the transformative power of live theater.
Read more at: http://www.theater808.org/index.html
"A very powerful and beautifully written work...This outstanding production really is one not to be missed...The actors’ performances are superb across the board. I was especially impressed by Quinn Cassavale who is vibrant, courageous and passionate as Madeleine and by Neal Mayer who is as coldly Mephistophelian as Sir Charles Sturman as one can possibly imagine. But I also thought that Lauren Currie Lewis is delightful as the innocent Killaine."- Seat on the Aisle
"A masterful revival...'The Clearing' moves steadily from its naturalistic beginning to become more expressionistic in Act II." - Talkin' Broadway