The Depot for New Play Readings

In 2015 the Depot for New Play Readings opened as a gathering place for theater lovers who wish to stay abreast of trends in theater today. The group meets to read and discuss new work in a former train station outbuilding in Hampton, a rural village in Connecticut’s Quiet Corner.

The Depot sits on land formerly inhabited by the Nipmuck Tribe.

Our mission is simple. Meet friends. Read new plays.

In 2015 the Depot for New Play Readings opened as a gathering place for theater lovers who wish to stay abreast of trends in theater today. The group meets to read and discuss new work in a former train station outbuilding in Hampton, a rural village in Connecticut’s Quiet Corner.

The Depot sits on land formerly inhabited by the Nipmuck Tribe.

Our mission is simple. Meet friends. Read new plays.

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    In “Morir Soñando,” Manuel López Torres combines the story of an undocumented striver, Rafi, with the supernatural legend of El Cuco, a malevolent figure who haunts children’s dreams. While Rafi pursues love and law school, El Cuco shadows him, a dramatic externalization of a system that prevents immigrants like Rafi from ever achieving the American Dream. A heartbreaking play that walks the fine line between comedy and tragedy. Highly recommended.

    In “Morir Soñando,” Manuel López Torres combines the story of an undocumented striver, Rafi, with the supernatural legend of El Cuco, a malevolent figure who haunts children’s dreams. While Rafi pursues love and law school, El Cuco shadows him, a dramatic externalization of a system that prevents immigrants like Rafi from ever achieving the American Dream. A heartbreaking play that walks the fine line between comedy and tragedy. Highly recommended.

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    Germaine Shames bases “The Joy of Theatre” on a case of Russian theater artists arrested for a rewriting of a fairy tale. Shames masterfully transforms the story, which for some people may resonate with events in the U.S. Action moves quickly, from celebration to incarceration under inhumane conditions. Never didactic and with rich language, humor, and stark stage settings, the play mocks the absurdity of authoritarians while positing the power of creative minds to resist. Strongly recommended.

    Germaine Shames bases “The Joy of Theatre” on a case of Russian theater artists arrested for a rewriting of a fairy tale. Shames masterfully transforms the story, which for some people may resonate with events in the U.S. Action moves quickly, from celebration to incarceration under inhumane conditions. Never didactic and with rich language, humor, and stark stage settings, the play mocks the absurdity of authoritarians while positing the power of creative minds to resist. Strongly recommended.

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    In “Didn’t See That Coming,” a beautifully written compendium of eight ten-minute plays, Mark Harvey Levine examines the tensions and ambivalences of relationships with originality and economy. Often beginning humorously, the plays shift delicately to address love, death, and the metaphysical. The brilliant dialog is very visual and like a transcription of real conversations. Organized in an emotionally satisfying narrative arc, the plays can be produced with simple sets. A sure crowd pleaser.

    In “Didn’t See That Coming,” a beautifully written compendium of eight ten-minute plays, Mark Harvey Levine examines the tensions and ambivalences of relationships with originality and economy. Often beginning humorously, the plays shift delicately to address love, death, and the metaphysical. The brilliant dialog is very visual and like a transcription of real conversations. Organized in an emotionally satisfying narrative arc, the plays can be produced with simple sets. A sure crowd pleaser.

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    In her brilliant farce, “Dance for a Manatee,” Mara Dresner presents ineptitude for laughs. Fundraisers meet politicians meet dancing detectives, a cast of characters who live in a singular reality both believable and absurd. With great comic bits, rapid-fire repartee, and a plot that twists and turns like a roller coaster, the play delights from beginning to end. A gem of a comedy for actors of multiple ages and races. Audiences will buzz about this play for days. Highest recommendation.

    In her brilliant farce, “Dance for a Manatee,” Mara Dresner presents ineptitude for laughs. Fundraisers meet politicians meet dancing detectives, a cast of characters who live in a singular reality both believable and absurd. With great comic bits, rapid-fire repartee, and a plot that twists and turns like a roller coaster, the play delights from beginning to end. A gem of a comedy for actors of multiple ages and races. Audiences will buzz about this play for days. Highest recommendation.

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    In “One-Pot Wonders,” Jennifer Persechino explores the bittersweet choices aging couples inevitably confront—loneliness, illness, and mortality. The play presents the difficult Cathleen and patient Ed as their marriage fractures and Cathleen navigates the tricky territory of not wanting to ask her daughter for support but needing it. With memorable stage action and dialog as quick as ping pong, the mood shifts from comedy to tragedy masterfully. Plum roles for older actors. Highly recommended.

    In “One-Pot Wonders,” Jennifer Persechino explores the bittersweet choices aging couples inevitably confront—loneliness, illness, and mortality. The play presents the difficult Cathleen and patient Ed as their marriage fractures and Cathleen navigates the tricky territory of not wanting to ask her daughter for support but needing it. With memorable stage action and dialog as quick as ping pong, the mood shifts from comedy to tragedy masterfully. Plum roles for older actors. Highly recommended.

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