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Cause Theatre

Cause Theatre Production


Cause Theatre is about more than the performance: it’s about provoking thought and discussion on topics that are crucial to everyone in society today, whether young or old. These productions challenge the audience to consider different perspectives, highlighting how attitudes and behaviors can affect experiences and actions. They also provide an opportunity for the actors to be actively engaged in the process of creating and performing social issues theatre. Auditions and performances are open to the general public. 

Performances are held at all three campuses and are also available for touring. Please call the Box Office to purchase tickets or to schedule a tour to your venue. Please note, there are no ticket discounts for CSM students or employees for Cause Theatre productions.


Benched, a Comedy in One Act

Benched

by Allyson Currin

Thursday, September 22 | 7:30 p.m. La Plata Campus
Friday, September 23 | 8 p.m. La Plata Campus
Saturday, September 24 | 2 p.m. La Plata Campus
Thursday, September 29 | 2:30 p.m. Prince Frederick Campus
Friday, September 30 | 8 p.m. Leonardtown Campus

$5, all seats

This show contains some mature language and may not be suitable for all ages.

Meghan, Timby and Joan meet every day at the same park bench to laugh, commiserate and complain about the challenges of motherhood. They don't even realize the co-dependent unit they have become, until one of them confronts one of life's powerful changes, and their connection is threatened in a profound and frightening way.

Produced by special arrangement with the playwright.


 

The Library/The Amish Project

This special Cause Theatre event features two plays, presented back to back, exploring how two communities that were rocked by tragedy had very different reactions.

Thursday, January 26 | 7:30 p.m. La Plata Campus
Friday, January 27 | 8 p.m. La Plata Campus

Saturday, January 28 | 2 p.m. La Plata Campus

$5, all seats

Due to mature content and heavy subject matter, this production may not be suitable for all audiences.

The Library

by Scott Z. Burns

After Caitlin Gabriel survives a deadly shooting at her high school, she struggles to tell her story to her parents, the authorities, and anyone who will listen. But there are other narratives that gain purchase in the media and paint her in a different light. Renowned Hollywood screenwriter Scott Z. Burns returns to the stage with this bold and chilling play that asks us to examine our relationship to the truth and the lies that claim to heal us.

Produced by special arrangement with Dramatists Play Service, Inc.

The Amish Project

by Jessica Dickey

The Amish Project is a fictional exploration of the Nickel Mines schoolhouse shooting in an Amish community and the path of forgiveness and compassion forged in its wake.

Produced by special arrangement with Samuel French, Inc.


 

9 Parts of Desire

by Heather Raffo

Thursday, March 16 | 7:30 p.m. La Plata Campus
Friday, March 17 | 8 p.m. La Plata Campus
Saturday, March 18 | 2 p.m. La Plata Campus

$5, all seats

Due to mature subject matter, this production may not be suitable for all ages. 

In the playwright's own words, "I intended to write a piece about the Iraqi psyche, something that would inform and enlighten the images we see on T.V. However, the play is equally about the American psyche. It is a dialogue between east and west. The characters are deeply engaged in circumstances unique to them as Iraqis and yet through their passions seem to answer the concerns of the west. The audience plays a vital role in the show with each Iraqi character speaking directly to them in English as if they were a trusted western friend. I wanted the audience to see these women not as the ‘other’ but much more like themselves than they would have initially thought. I felt it was important to create a safe environment to experience both horror and humor, but ultimately to see the play as a celebration of life. 9 Parts of Desire is also about the need for feminine strength as a necessary part of any The material I gathered came from hours of gaining the trust of Iraqi women. I had the right mix: I was half Iraqi so they opened up to me immediately, but I was also Western so they felt they could express fears or secrets that might otherwise be judged more harshly by someone from their culture. And most importantly, I had to share as much of myself with them as they were sharing with me. My process was not one of formal interviews, but rather a process of living with, eating with, communicating compassionately and loving on such a level, that when I parted from their homes it was clear to all that we were now family. When an Iraqi woman trusts you it is because she has come to love you and that has been the process of finding and forming these stories. With rare exception, none of the stories are told verbatim. Most are composites and although based in fact, I consider all the women in my play to be dramatized characters in a poetic story. I liken it to song writing; I listened deeply to what each woman said, what she wanted to say but couldn’t, and what she never knew how to say. Then I wrote her song."

Produced by special arrangement with the playwright.