NYC REVIVAL OF BEKAH BRUNSTETTER’S BE A GOOD LITTLE WIDOW AT THE WILD PROJECT

Welthy Holliday Productions proudly presents a revival of Bekah Brunstetter’s Be a Good Little Widow, the inaugural theatrical production by the company, directed by Elena Araoz. Be a Good Little Widow runs from September 12 – 22, 2013 in a limited engagement at the Wild Project, located at 195 East 3rd Street between Avenue A and Avenue B in New York City.

Performances are Thursdays – Saturdays at 8pm and Sundays at 3pm. Tickets are $18 and can be purchased online at http://BeAGoodLittleWidow.com or by calling 1-800-838-3006. For mature audiences 16 and up. For more information visit http://BeAGoodLittleWidow.com.

Melody is an adult or at least she thinks she is. She has a house in the burbs, a successful lawyer husband Craig with a cute assistant Brad, even a disapproving mother in law, Hope, to contend with. But between midday yoga, interior decorating, and dinner parties Melody feels something just isn’t right. When the unthinkable happens Melody is thrust into a world of black dresses and funeral plans, but can Hope really teach her what it means to Be a Good Little Widow? A surprising dark comedy that explores love, loss and everything that comes after.

The cast includes Aamira Welthy (DREAMers with The Civilians), Chris Holliday (LAByrinth Intensive Ensemble member), Robbie Tann (The Adventures of Tom Sawyer at New Victory Theater) and Matt Bittner.

The production team includes the duo behind The Capables at the Gym at Judson/NY Innovative Theater Award nominees Greg Kozatek and George Hoffmann (Scenic Design), Bradley King (Lighting Design), Elizabeth Groth (Costume Design), Nathan Leigh (Sound Design), Sarah Dowling (Props Master) and Eileen Lalley (Stage Manager).

Bekah Brunstetter’s plays include Cutie and Bear (Upcoming, The Roundabout), The Oregon Trail (O’Neill Playwright’s Conference), A Long and Happy Life (Commissioned by Naked Angels), Be a Good Little Widow (The Old Globe, Ars Nova, Collaboraction) House of Home (Williamstown Theater Festival), Oohrah! (Atlantic Theater, Steppenwolf Garage / Livewire Productions), and Miss Lilly Gets Boned (Lark Playwrights Week, Finborough Theater, Ice Factory). She was a New York New Voices Fellow through the Lark Play Development Center, and was a member of The Primary Stages Writer’s Group and the Naked Radio writing team. She is an alumni of the Women’s Project writer’s Lab, the Ars Nova Play Group and the Playwright’s Realm. Brunstetter worked on MTV’s “Underemployed” with Craig Wright and is currently a staff writer on ABC Family’s “Switched at Birth.”

Elena Araoz directs theater and opera, internationally, Off-Broadway and regionally. Most recently, Araoz directed La traviata for New York City Opera at BAM, Natalia Naman’s Lawnpeople at Cherry Lane, Lucia di Lammermoor for Opera North, and the world premieres of two Mac Wellman plays, both of which will be presented together again this fall by ArtsEmerson and Sleeping Weazel. Also upcoming, Araoz will direct the collaborative Off-Broadway piece Architecture of Becoming for the Women’s Project and her production of Jaclyn Villano’s Unanswered, We Ride will be featured at the 2014 Last Frontier Theatre Conference. She has also developed/directed work by Naomi Wallace, Don DeLillo, Christopher Logue, Christopher Oscar Peña, Jakob Holder, and has directed for the Brooklyn Philharmonic at BAM, Glimmerglass Opera, Northern Stage, Geva Theatre Center, Nobel Bridge Theatre (Beijing), Pearl Theatre Company and Boston Playwright’s Theatre. The operetta she adapted and directed, War Music, performed nationally.

Be a Good Little Widow was originally commissioned and developed by Ars Nova who produced its World Premiere. The New York Times called the play “Delicately satisfying…Brunstetter writes fresh, unfussy dialogue and characters who earn their laughs and emotional moments by honest means.” TimeOut NY found it to be “tender and oddly charming,” while New York Magazine described it as “a funny, salty, achy drama.” Back Stage made Widow a Critic’s Pick, calling it a “powerful new play…Brunstetter’s words pierce the soul, and she makes the depths of the human experience profoundly relatable.”