THE FAMILY CLAXON
The Creative Production Team Includes:
Elizabeth Cammett – Stage Manager
Benjamin Gantose – Lighting Designer
Alison Garrigan – Costume Designer
James Gillen Kosmatka – Sound Designer
Ismael Lara – Assistant Director
Ryan T. Patterson – Scenic Designer
ABOUT THE Playwright: Eric Coble
Eric Coble returns to the Cleveland Public Theatre stage, which launched his play My Barking Dog, leading to productions in Los Angeles, London and elsewhere.
Mr. Coble was born in Edinburgh, Scotland and raised on the Navajo and Ute reservations in New Mexico and Colorado. His scripts have been produced on Broadway (Tony-nominated The Velocity of Autumn), Off-Broadway (Bright Ideas), in all fifty states of the U.S. and on several continents, including productions at Manhattan Class Company, The Kennedy Center, Playwrights Horizons, Actors Theatre of Louisville Humana Festival, Denver Center Theatre Company, Arena Stage, New York and Edinburgh Fringe Festivals, Habima Theatre (Israel), Pentacion Productions (Spain), Teatr Polski (Poland), Orange Row (Mexico) and the Contemporary American Theatre Festival (U.S.).
Awards include two AATE Distinguished Play Awards for Best Adaptation, an Emmy nomination, the Chorpenning Playwriting Award for Body of Work, the AT&T Onstage Award, National Theatre Conference Playwriting Award, an NEA Playwright in Residence Grant, a TCG Extended Collaboration Grant, the Cleveland Arts Prize, two Cuyahoga Arts and Culture Fellowships and four Ohio Arts Council Individual Excellence Grants.
Twenty-seven of Mr. Coble’s scripts have been published by Dramatists Play Service, Samuel French, Dramatic Publishing, Smith & Krause and others. www.ericcoble.com
ABOUT THE Director: Craig J. George
Craig J. George’s directing credits include Off-Broadway: Taming of the Shrew: Extreme (The Duke on 42nd Street) and over a dozen world premieres, including: Titus: A Grand and Gory Rock Musical (Cleveland Public Theatre), The Calico Buffalo, God’s Country and Lighter (New York Musical Festival), The Aperture by Sean Christopher Lewis (CPT & FringeNYC), Cursing Macbeth (Harold Clurman Theater), Kiss Your Brutal Hands by Jim Shankman (United Solo Festival/FringeNYC) and Alfred Kinsey: A Love Story (NYC, Michael Weller Theater). Regional: Measure for Measure, Standing on Ceremony: The Gay Marriage Plays (Cleveland Public Theatre), Twelfth Night, Much Ado About Nothing, Taming of the Shrew (Hamptons Shakespeare Festival), The 39 Steps and The Complete Works of William Shakespeare, abridged (Via Brooklyn/Southampton Cultural Center). Other theatres worked at include South Coast Repertory, George Street Playhouse, The New Group, West Side Theatre, York Theatre Company, New Jersey Repertory and Penguin Repertory. Upcoming projects include the world premiere of the new musical Billy and the Killers by Jim Shankman and Peter Stopschinski (HERE Arts). Craig holds an MFA from UC Irvine and is a member of AEA and SDC. www.craigjgeorge.com
A Message from Raymond
Catapulting the Claxons
The Family Claxon is not only a World Premiere – it’s the first Catapult project to be produced on CPT’s stage!
What is Catapult? The most extensive of CPT’s new play development programs, intended to move projects from early to mid-development phase to being “production-ready.” Each process is customized to the work; projects may receive a series of readings, significant rehearsal time and/or workshop productions. Artists selected for Catapult receive funding support through the Nord Family Foundation Playwright Fellowship.
Take a virtual tour of Entry Point 2017 by clicking here or on the thumbnail to the left – and catch playwright Eric Coble around the 5:20 mark – and a fleeting glimpse of The Family Claxon reading around the 5:30 mark!
“There’s a very particular rhythm to The Family Claxon. Because of Entry Point, we had three nights and three different audiences giving their feedback. So I could tell the stuff that worked every night was probably going to work. The stuff that was funny some nights but not others, I had to go back and question. Stuff that never got a laugh – that was out of there!
Over the course of Entry Point, I realized the next step was going to have to be physical, because so much of this play is physical and about the space… How long does it take to get from the kitchen to the stairs? To the front door? Those things matter in how much dialogue we have, what’s funny in the physical space and what’s not.” -Eric Coble