Catherine Stewart

Disgraced tech entrepreneur Mina Azimi expects to control the narrative when she sits down with veteran journalist David Mendez. But he isn’t here for a puff piece—he’s here to confront her with a troubling question: Who can you trust when technology becomes part of our intimate lives?

Claire intends to sit on her friend's couch, eating toast. At the same time, everyone around her anticipates the election of the first female American president. When pushed to participate, the veneer of her apathy cracks, conjuring visitations from women trying to win her vote.

In this uncanny comedy, the political rhetoric of Victoria Claflin Woodhull (candidate in 1870), Margaret Chase Smith (candidate in 1964), and Shirley Chisholm (candidate in 1972) weaves through one woman’s relationship to ambition. Using archival and contemporary verbatim text, Good Lazy Women provokes conversation on why America isn’t yet ready for a female leader.

Determined to rekindle their friendship, two women meet for a weekend around the campfire with combustive results.

Julianne's mind races as a snarl from the forest reverberates, illuminating the uncertainties that have silently crept around the tent she shares with her friend, Margo. As their campsite fills with distant riffs from the undergrowth, a once-shared soundtrack becomes increasingly jarring until the melody of their past no longer binds them. A question lingers in the air — who were they when they first met, and how can they navigate the winding trail of their connection two decades later?

You, Me, and the Woodsmoke invites contemplation on the evolving nature of platonic relationships. Like their friendship, the forest holds secrets, and as the weekend unfolds, so does the ignited drama of their intertwined lives.

The corridors are rife with tumbling troupes of medical staff spouting knowledge, nuns on a mission from God, board members more concerned with snacks than salaries, and clowns trying to provide their best medicine. All the while patients are searching for a way to survive in a system that strips them of their humanity. Everyone is after a little bit of care, but who can they turn to if the hospital itself can’t remain healthy?

Doctor Doctor is a five-act surrealist drama which draws on the traditions of farce and vaudeville to tell the story of seven characters trapped inside an American hospital.

Kae is trapped. Inside her room, inside her body. While facing a long recovery from a debilitating accident, she teeters on the edge of her infinite abyss. Visitors come and visitors go, but there's a voice in her head that’s hanging around. As she spirals further into her own universe she’s left questioning whether taking a single step will lead her in the right direction, and back towards the outside.

Frank led a solitary island life, so when his kin come ashore to lay his body to rest they are left to reconcile their own relationships with the lobsterman. When the end comes there is more than Frank’s land and legacy at stake as the mourners struggle to unearth common ground.

“We sat here. We fed our child, and her friends. We fought, and played. Talked politics, religion and war. You looked at me for all those years. You never straightened the painting that hung crooked on the far wall. Eating here no longer fills my heart with joy. Who will I cook for? Who will wash the dishes? This was our table, Charlie. This was your place at our table."

Funny, tender, and ever so tasty. At The Table whisks together a bounty of stories that tackle our sticky love affair with food. Pull up a chair and join us for the world premiere of this provocative new play, an immersive theatrical experience that explores family, food, and the way we eat.

In 2006, writer/director Catherine Stewart inherited her grandmother’s collection of cookery books, cut-out recipes, and scribbled notes from the kitchen. From that myriad of memories, Stewart has created a work that explores the complicated world of food production and consumption. The heart of this play captures the joy of wholesome family cooking that warms us all.However, as we delve deeper into the subject of our food, some indigestible truths begin to surface.

(As part of the experiential performance, audience members are encouraged to enjoy a family-style dinner - which was originally created by chef Sam Ostrow (Block Six).)

Susannah, with her clipboard in hand is ready to change hearts and minds until she rings the doorbell of Marjorie Temple. As a new peer-led recovery center plans to move in next door Susannah and Marjorie confront their own bias surrounding those in recovery, and the ones they love.

The one-act play was the winner of the 2017 Prescott Park Arts Festival "30 Pages in 30 Days" Competition.