Previews: PLAY FESTIVAL at The Beach Theatre

The Beach Theatre is set to launch an unforgettable weekend of theater, spotlighting two boundary-pushing plays and an irreverent new musical from September 19 to 21. Audiences can expect backstage mishaps, thought-provoking questions about technology and identity, and a rollicking musical journey through the heart of Florida.

Festival producer and Beach Theatre founder Hannah Hockman shares, “My guiding vision has always been to support local art. This festival highlights a remarkable group of playwrights, some who are well established in the Tampa Bay area and others who are just beginning their careers. We are fortunate to have such a talented range of voices at the heart of our first Play Festival.”

Romeo, Romeo by Alaina Rahaim

What if Shakespeare’s greatest tragedy became a backstage comedy of epic proportions? Alaina Rahaim’s Romeo, Romeo takes audiences behind the curtain of a high school production of Romeo and Juliet, where most of the drama unfolds offstage and in the greenroom. Rahaim, inspired by her own high school theater memories, explains, “There is so much drama in high school, not the least of which actually occurs in the Drama Department, and certainly not onstage. If anything, most of it occurs backstage, and in my experience, especially in the greenroom, which is where my play primarily is set.” Expect theatrical calamities, a nod to Shakespeare’s original text, and a healthy dose of irreverent humor—yes, including the timeless fart joke.

Hockman adds, “It begins with trust in the artists. Several of the playwrights featured this year have long-standing careers and a deep understanding of what resonates with audiences. I believe when you give playwrights the freedom to create, they will take care of both the artistic integrity of the work and the experience of the audience.”

Bionic by Jenna Jane

In Bionic, playwright Jenna Jane explores a future where technology and humanity are inseparable, asking: How much of ourselves are we willing to trade for survival? Set in a world of “solar panel fingernails, 3-D printed vocal cords, bionic wombs, humanoid A.I. holograms, and corporations that hack your dreams with ads,” Jane uses the stage to examine the boundaries of human identity and resistance. “We’re already facing choices that balance technology and identity; this play just kicks it up a notch,” she notes. With a focus on authentic connection and ambiguity, Bionic challenges audiences to consider what makes us truly human and invites discussion long after the curtain falls.

For Hockman, the festival is more than a showcase—it’s a mission. “Producing my first Play Festival is incredibly meaningful to me. It was on my wish list for The Beach Theatre even before we closed on the property. Play festivals hold a special place in my heart because they shaped my own early career as a director. ThinkTank Theatre’s Play Festival was where I found my footing and discovered my voice as an artist. Festivals like this are not only where playwrights grow, but where directors, designers, and actors gain opportunities to develop.”

Florida Man: The Musical by William Leavengood

Closing the festival with a bang is Florida Man: The Musical, a wild ride through the headlines and heartaches of the Sunshine State. Conceived by playwright William Leavengood and composer Constantine Grame, the show is grounded in both real and imagined “Florida Man” antics. At its core is a love story between two outcasts, Clive and Bunny, whose dreams of happiness are beset by absurd circumstances. Leavengood shares, “Clive and Bunny are the heart of the story. It is a love story about two outcast, overlooked people seeing the value and beauty in each other.” Audiences can look forward to musical numbers like “The Hurricane Rag,” which captures the hurricane experience with dark humor, and lyrics that blend genuine emotion with laugh-out-loud lines: “We’re each other’s lost sock, matched solid as rock, I saw what was there and go-got-her.”

Beyond the laughs, the musical weaves in sharp commentary on social issues, the prison system, and the power dynamics shaping communities—an ethos that aligns with Hockman’s hopes for the festival’s legacy. “I hope it instills a renewed confidence in local art. Bringing in national or Broadway talent has its perks, but true investment begins with nurturing the artists in our own community. Supporting local playwrights and theatre-makers builds a foundation for sustainable growth, and I believe we have a responsibility to prioritize and uplift each other first.”