Azuka Theatre Presents World Premiere Of SHIP By Philadelphia Playwright Douglas Williams

Azuka Theatre continues to foster new works by local Philadelphia playwrights with the world premiere of Ship by Douglas Williams. Following a critically acclaimed and sold out run of Sunset Baby by Dominique Morriseau, Azuka continues their 2019-2020 season with the New Professionals Production of Ship from February 26 to March 15, 2020, presented at The Proscenium Theatre at The Drake (302 Hicks Street, Philadelphia). In Ship, audiences find Nell fresh out of rehab and returning to her hometown of Mystic, CT with two goals: track down her former classmate who tried and failed to grow the longest fingernails in the world, and be promoted to the most high profile job in town: tour guide at the Seaport. With the help and hindrance of her older sister, Nell grabs at her chance for hometown glory - but it's not as easy as it looks. The production is directed by Producing Artistic Director Kevin Glaccum, and stars Annie Fang (Nell), Alison Ormsby (Caitlin) and Michael A. Stahler (Jeremiah). Ship runs through March 15, 2020, for a total of 18 performances, with opening night on Saturday, February 28, 2020. Azuka continues its pay-what-you-decide model for this show where audiences are invited to experience the art on stage and pay based on the value of their experience after. For reservations, visit azukatheatre.org. Ship runs 90 minutes with no intermission and is recommended for audiences 13+. Azuka thanks season sponsor, Harmelin Media, and Ship's Honorary Producers David & Linda Glickstein.

"Ship is about a girl in recovery who's obsessed with the Guinness Book of World Records; she finds out the kid from her high school who was attempting to grow the world's longest fingernails just move back to town and she thinks displaying his broken fingernails (he failed) is her ticket to stardom!" said Glaccum. "Ship fits perfectly into our 20th season as it is a classic outcasts and underdogs tale: two outsides in their town looking for their place in the world - and they are wondering how or where they fit in."

For Ship and Glaccum, Azuka partnered again with local playwright, and Azuka's current Playwright-in-Residence, Douglas Williams. Ship marks Azuka's and Williams' third production following Mooncave and Sh*theads. Williams is also part of Azuka's innovative playwriting circle, New Pages. With New Pages, Azuka pledges to produce one new local work from a member playwright at least once per season. Ship is the first New Pages play to be produced since New Pages was formed last season.

"Doug is one of my favorite playwright writing these days. His characters are perfectly in line with the theatre I want to make, and his dialogue is amazing. It is so realistic and true to life," added Glaccum. "Ship is also a World Premier and New Professionals production, so it encompasses the three fold foundation that Azuka rests on, New Audiences (via Pay What You Decide), New Plays (our 24th World Premier) and New Professionals (we're the only company that dedicates an entire production to highlighting the talents of new artists)."

When asked about working again with Azuka, Williams said, "Working with Azuka on Sh*theads really floored me. It was my third full production and it was really the first time I feel like I saw my vision not only realized, but exceeded in almost every capacity. I think a lot of that had to do with me just being more confident in my writing and knowing how to write a play that's in production - because that can be really hard! Knowing when to stop writing and let the design team or the actors really take the material to the next level. Where to hand the reins over to Kevin and have him make the play succeed through direction rather than me just trying to rewrite a moment over and over. It's a tricky balance, especially when you're starting out. Since then, Kevin and I have continued to develop a really close relationship - and we're always keeping each other updated on what we are working on and thinking about artistically. Ship really grew out of that connection and relationship."

For the idea behind the story, Williams said he had this random idea about writing a play about someone who tries to grow the longest fingernails in the world. "I was riding my bike in the Gayborhood and the idea hit me out of nowhere," he said. "Slowly that idea developed through a workshop I did with Matt Decker and Bristol Riverside Theatre. At that point I had these three characters sketched out and some conflict and the setting - but it was still a pretty early draft. The audience who saw the reading out there was also very offended with how many times Nell swore in the play, so that kind of felt like I was moving in the right direction. Having them feel kind of offended about that character just really felt like Nell was becoming a real person. So I kept pushing in that direction."

He continued, "The play has a lot to do about sibling relationships and includes a lot about my real life relationship with my sister, Katie. She was instrumental in bringing this play to the next level. She and I worked very closely on talking through our experiences growing up, what it was like now to be adults with all this baggage but still have a (sometimes complicated) friendship that's the core of our relationship. There's so much of Katie in this play."

Through the process, Ship was selected for the Great Plains Theatre Conference. "I did lots and lots of work in Omaha at the GPTC (so grateful for their resources and help in making this play what it is). Kevin was pretty excited for me too and so when I came back from the conference he asked for a new draft and suggested we do a 'dark night' reading at Azuka just for fun."

Williams added, "After I sent him the draft and showed up for our rehearsal prior to the reading, I sat with him in his office while he printed the pages off. As the pages were printing, and Kevin was reading through his email, he said to me - just kind of casually while still looking at his screen, 'Oh and we're totally going to produce this play.' Which was a pretty great moment!"

The play then continued to develop through more workshops, readings and meetings - as well as through some retreats with Williams' sister to hone in on moments in the play. He concluded, "I feel like a highly collaborative writer, I conduct interviews with people for basically any new thing I'm working on, and this play is definitely a result of many people's influence, Kevin and Katie most of all."

For casting, as this show is New Professionals, Glaccum was looking for recent college graduates. Two of the actors, Annie Fang and Michael Stahler, just graduated from college in May (Penn and Temple, respectively). Alison Ormsby was then cast as the older sister. Glaccun said, "We like to have one 'veteran' in the cast as a way of mentoring the younger actors(all of the designers are paired with a mentor in their discipline). Alison WAS a New Professional in 2018 when she appeared in Ready Steady Yeti Go, then we cast her again last season in the title role in Boycott Esther. I'm not sure, but this may be the first time an actor has worked with us three seasons in a row. Also, as we were developing this play, Alison read the role of Nell in a couple of readings we did of the play. When it came time to cast, and we knew this was a New Professionals show, I couldn't really cast her in that role. I called her in to read for the older sister, never expecting to cast her (I had envisioned the character as much older) and she knocked it out of the park! I'm thrilled, since this is the third show she's done with us, it's the first time I'm directing and I can't wait, she's an amazing talent."

For the set, a good portion of the play takes place on a whaling ship called the Charles W Morgan, which is the last remaining whaling ship in the world. The ship is at a museum in Mystic, CT which is where the play takes place. Glaccum said, "We're trying to give the audience as much of a feel of being on one of those ships as our budget allows! Additionally, costumes are very character driven, and hopefully will help tell the story of the characters before the actors even speak."

On top of the set, look for unique sound elements to come to life. "Doug has written this moment where the three actors are in their separate worlds and the tasks they're performing, i.e. typing, hammering and sawing wood, working with paint cans, comes together to form a kind of music. The Sound Designer Tom Carman and I will be working closely with the actors to try and bring this moment to life. Doug frequently has very distinct moments in his plays that are defined by sound, and I always look forward to trying to bring those moments to life," added Glaccum.

For Ship's production team, Glaccum selected regional familiar names and Azuka alums, as well as new team members, including Kevin M. Hoover (Scenic Design), Qi'er Luo (Lighting Design), Gina Colacci (Costume Design), Tom Carman (Sound Design), Michael Kasper (Projection Design), Cass Meehan (Properties), Leslie Ann Boyden (Stage Manager), Michele Volansky (Dramaturg), Lauren Tracy (Production Manager), Joe Daniels (Technical Director), Flannel & Hammer (Scenic Construction), Rudy Schreiber (Assistant Director), Emmie Parker (Assistant Stage Manager), Macie Poskarbiewiecz (Assistant Dramaturg), Dirk Durossette (Scenic Mentor), Robin Stamey (Lighting Mentor), Damien Figueras (Sound Mentor), Avista Custom Theatrical - Amanda Hatch (Properties Mentor).

Beyond Ship, Glaccum also shared that Azuka and Williams are already working on their next play that he says, "I can absolutely see us producing in 2021-2022. I don't want to say too much about it at this juncture, but I'm pretty sure we're going to do it and I am excited."

Williams added, "Azuka is unquestionably my artistic home. This will be my third production there and I'm incredibly grateful to have Azuka, Kevin, Maura and Mark as champions. I think it's every playwrights dream to have the kind of relationship with a theatre that I have with Azuka. I'm just so so thankful."

Ship, as well as all shows this season, continues Azuka's commitment to the community by extending the innovative pay-what-you-decide box office initiative. No money is exchanged before the show. Audience members reserve tickets in advance, see the production, then decide on a price which they think is suitable based on their experience and pay as they leave the theater. Ticket payment can be made after the performance by cash, check or credit card. All money collected helps to pay Azuka artists and further support future productions.

As part of this production, Azuka will present pre-show happy hours sponsored by Two Roads Brewing Company on Fridays, February 28, March 6 and March 13, from 7:00pm to 8:00pm. Also, Azuka presents a production team post-show conversation on March 4th following the performance.

For show, special event and reservation information, please visit azukatheatre.org or call (215) 563-1100.