Dedicated to our co-founder, Dee Dee Van Zyl (1950-2018), in loving memory.
LIFE OF GALILEO by Bertolt Brecht. Oct. 12-14 & 19-21, 2018. Museum of the Rockies.
TOOTH OF CRIME by Sam Shepard. Nov. 23-24, Nov. 30–Dec. 1, & Dec. 7-8, 2018.
Eagles Club & Ballroom.
A MOON FOR THE MISBEGOTTEN by Eugene O’Neill. Feb. 21-23 & Feb. 28–March 2, 2019.
The Emerson, Crawford Theater.
STOP KISS by Diana Son. April 5-6, 12-13 & 19-20, 2019. Story Mansion.
A DOLL’S HOUSE by Henrik Ibsen. Staged reading, May 3-4, 2019. Story Mansion.
A DOLL’S HOUSE, PART 2 by Lucas Hnath. May 9-11 & 16-18, 2019. Story Mansion.
Season Tickets are now on sale on our Tickets page.
With your gift of $25 or more in support of our 2018-19 Season, you'll be named a BOZEMAN ACTORS THEATRE BENEFACTOR and be recognized in our programs and on our website all season long. To donate, click here.
For information on each play in the season, keep reading!
LIFE OF GALILEO by Bertolt Brecht
October 12-14 & 19-21, 2018
Museum of the Rockies, Hager Auditorium
Please visit our Past Productions page to read more about this play.
TOOTH OF CRIME by Sam Shepard
November 23, 24, 30 & December 1,
7, 8, 2018. 7:30 p.m.
Eagles Club & Ballroom
Following our acclaimed production of Sam Shepard's Fool for Love at the Eagles last season, Bozeman Actors Theatre presents Shepard's thrilling rock-and-roll epic of power and fame. In a celebrity-obsessed America, an aging rock warlord and his ragtag followers struggle to stay on top with challengers at every turn. When an upstart rival who breaks all the rules comes on the scene, only one can emerge the victor in a duel to the death—a duel where words and music have become the weapons of choice. Gordon Carpenter directs a talented musical cast and live rock band in a poetic tour de force. The play’s score by T Bone Burnett, under the musical direction of Lee Dickerson, will be performed live by The Keepers, while the cast of BAT veterans features Mark Kuntz (The Realistic Joneses), Tonya Andrews (Copenhagen), Will Dickerson (Fool for Love), Sydney Madill (Life of Galileo), and Torie Laher (Fool for Love). All ages are welcome, but parental guidance is suggested (profanity, drug use, and stage violence). Read the press release.
For tickets, go to our Tickets page.
"This is a private and urgent message for the young and famous of the 21st century—rock stars, movie stars, fashion stars: Sam Shepard knows your m.o., dudes. He knows where you’re headed. He knows what you’ll be like when time is no longer on your side. And you want to hear the really scary part? He knew all this before you were even born." —The New York Times
"In Shepard’s otherworldly version of the Wild West, music and violence perfectly overlap, and our hero fears the new, slick media stars as much as he does an assassin’s bullet. ... What follows is the theatrical equivalent of a bender—drugs, women, and guns are just shards on the floor of Shepard’s lyrical rampage." —Time Out New York
MEET THE CAST AND DIRECTOR (left to right from top): Mark Kuntz, Tonya Andrews, Will Dickerson, Sydney Madill, Torie Laher, and Director Gordon Carpenter.
REHEARSALS ARE UNDERWAY! Here are a few pictures of our cast and crew hard at work. (Photographs by Dava Guptill Knobel)
A MOON FOR THE MISBEGOTTEN by Eugene O’Neill
February 21-23 & Feb. 28–March 2, 2019
Emerson Center for the Arts & Culture, Crawford Theater
Our underwriters for this production are Susan Quarles and Geoffrey Stephens
Bozeman Actors Theatre stages one of the signature achievements of Eugene O'Neill, winner of the Nobel Prize in Literature and arguably the greatest American playwright of all time. Over two days at a Connecticut farmhouse in 1923, a crossroads of fate will forever alter three lives: a domineering Irishwoman with a quick tongue and a ruined reputation; her conniving tenant farmer father; and a washed-up actor and lost soul haunted by the ghosts of his past. One of O'Neill's most autobiographical plays, A Moon for the Misbegotten is the heartbreaking story of a doomed man’s guilt and the woman who tries desperately to love him. Mark Kuntz directs Kari Doll, Daniel Erickson, Mike Hesford, Colton Swibold, and Richard Dunbar in Bozeman's dramatic centerpiece for 2019.
"Everything about it is so tremendous that it reduces almost every other modern drama to virtual pettiness." —Legendary critic Richard Watts, New York Herald Tribune
"In the best productions of this work, the audience is rapt, terrified to miss an emotional beat. Revelation in O’Neill is both eternal and temporal. People quickly go back to their own illusions. You don’t want to miss the moment when they bare their souls." —Chicago Tribune
STOP KISS by Diana Son
April 5-6, 12-13, & 19-20, 2019
After Callie and Sara, two young women making their way in New York City, unexpectedly fall in love, their first kiss provokes a brutal attack that transforms their lives in a way they could never imagine. Over the course of artfully structured scenes told largely out of sequence, audiences witness the relationship flowering between these two women and experience a single hate crime's effects—physical and psychological—on lives just hitting their stride. Tonya Andrews directs.
"There's so much that is vital and exciting about Stop Kiss. … You want to embrace this young author and cheer her on to other works. … The writing on display here is funny and credible. … You also will be charmed by its heartfelt characters and up-to-the-minute humor."
—New York Daily News
"Something as thought-provoking and ultimately moving as Stop Kiss is a joy to experience."
—The Star Ledger
A DOLL’S HOUSE by Henrik Ibsen (staged reading)
May 3-4, 2019
For two nights only, Bozeman Actors Theatre presents an exclusive staged reading of A Doll's House, Henrik Ibsen's classic play and one of the pioneering works of modern drama. The story of its central character, Nora Helmer, who rejects the life of her smothering marriage, shocked audiences of the late 1800s and opened new horizons for drama of the next century. Directed by Cara Wilder, our cast will reveal the genius of a landmark play—presented in one of Bozeman's historic gems, the Story Mansion!—while setting up our staging of Nora's story 15 years later. (See A Doll's House, Part 2 below, opening one week later on May 9.)
"Part of what makes the story feel so desperate and urgent in our hearts—we never want it to end—is that it so resembles life’s rhythms, with its various elisions and polite misdeeds and yearnings, and yet it’s better than reality, since A Doll’s House cannot be explained away, or treated merely as a distant object; once it enters our consciousness, it sweeps us up in its emotional irresolution." —The New Yorker
A DOLL’S HOUSE, PART 2 by Lucas Hnath
May 9-11 & 16-18, 2019
Our underwriters for this production are Richard Wolff and Dr. Janel Carino
In the final scene of Ibsen's A Doll's House, Nora Helmer makes the shocking decision to leave her husband and children and begin a life on her own. This climactic event—when Nora slams the door on everything in her life—instantly propelled world drama into the modern age. In A Doll's House, Part 2, many years have passed since Nora’s exit. Now there’s a knock on that same door. Nora has returned. But why? And what will it mean for those she left behind? Kari Doll directs Bozeman Actors Theatre's production of the play that took Broadway by storm in 2017 on its way to eight Tony Award nominations.
“A smart, funny, and utterly engrossing play. … Hnath approaches what might seem like a hubristic project with the humility and avidity of an engaged Everyreader. A Doll's House, Part 2 gives vibrant theatrical life to the conversations that many of us had after first reading or seeing its prototype.”
—The New York Times
“[A Doll's House, Part 2] delivers explosive laughs while also posing thoughtful questions about marriage, gender inequality, and human rights. … as much an ingenious elaboration and deconstruction of A Doll’s House as a sequel, and it stands perfectly well on its own. … With unfussy eloquence, [the play] asks how much, in a century-plus, life has changed for Nora and women like her in a world that often still has firm ideas about where they belong.” —Hollywood Reporter