Theatre Wesleyan's 2020 season begins with two shows this fall that will play in repertory on alternating days: a critically-acclaimed play inspired by the long-running animated sitcom, "The Simpsons," and a commedia about not losing your head to a princess.
An adaptation of Count Carlo Gozzi’s Turandotte: Princess Of China will begin the performance schedule, followed by Anne Washburn’s critically acclaimed play, Mr. Burns, a post-electric play, inspired by the long-running sitcom The Simpsons.
Students can use the code "SGA" at checkout to redeem their free tickets, sponsored by the Student Government Association.
Audiences can receive a special double feature discount when they buy one ticket for Turandotte and one ticket for Burns. Patrons can use the code “INREP” at checkout to redeem this offer.
Performances will be held at the Thad Smotherman Theatre at Texas Wesleyan University (1205 Binkley Street, 76105) and will begin with Turandotte on Wednesday, Oct. 23. Burns will alternate beginning Thursday, Oct. 24. Tickets, as well as a full performance schedule, are now available at the Theatre Wesleyan website. For more information regarding group ticket sales at a discounted rate, please contact the Box Office at 817-531-4211 or via email at email@example.com.
Turnadotte runtime: 90 minutes with no intermission.
Mr. Burns runtime: 2 hours, plus two 10-minute intermissions.
A commedia troupe is here to tell the story of Turandotte, a beautiful princess with a heart of ice, who meets her match when the prince Calaf dares to answer her deadly riddles with the promise of love. A selfless sacrifice by Calaf’s faithful servant ultimately awakens true emotion in Turandotte, proving that in the game of love, you can’t win the top prize without giving away your heart.
After the collapse of civilization, a group of survivors share a campfire and begin to piece together the plot of The Simpsons episode "Cape Feare" entirely from memory. 7 years later, this and other snippets of pop culture (sitcom plots, commercials, jingles, and pop songs) have become the live entertainment of a post-apocalyptic society, sincerely trying to hold onto its past. 75 years later, these are the myths and legends from which new forms of performance are created.