room for cream season one: the box set!

The Club

January 22 - February 8, 2009
Thursday - Saturday 10:00pm
Sunday 5:30pm

Tickets $15
To puchse tickets, click here or scroll down

Season Pass $70 for one performance of each episode
Click Here (Please note: the season pass is available online only)

*Adult audience only

The Dyke Division of Theatre of the Two-Headed Calf
Directed by Brooke O'Harra
Episodes written by Jess Barbagallo, Laryssa Husiak, Brooke O'Harra, Brendan Connelly and Laura Berlin Stinger

One of the phenomena of Off-off Broadway last season was "Room for Cream," a dramatic serial of lesbian life in the Berkshires that previewed at St. Mark's Church and then moved permanently into The Club at La MaMa, where it attracted capacity crowds of fervent fans for eleven full episodes between January and June, 2008.

Eleven episodes will be re-mounted in a repertory schedule over three weekends, with two episodes back-to back per night

Click on each performance to purchase tickets.

Thurs 1/22 - 10pm
1 & 2
Fri 1/23 - 10pm
3 & 4
Sat 1/24 - 10pm
1 & 2
Sun 1/25 - 5:30pm
3 & 4
Thurs 1/29 - 10pm
5 & 6
Fri 1/30 - 10pm
7 & 8
Sat 1/31 - 10pm
5 & 6
Sun 2/1 - 5:30pm
7 & 8
Thurs 2/5 - 10pm
9 & 10
Fri 2/6 - 10pm
11: The Finale
Sat 2/7 - 10pm
9 & 10
Sun 2/8 - 5:30pm
11: The Finale

Or get a Season Pass $70 for one performance of each episode!!

Directed by Brooke O'Harra, with episodes written by Jess Barbagallo, Laryssa Husiak, Brooke O'Harra, Brendan Connelly and Laura Berlin Stinger, the live lesbian soap opera was originally mounted over the first half of 2008.  (Theatre of the Two-Headed Calf had previously been noted for intrepid adaptations of Shaw and Witkiewicz at La MaMa.)  Each chapter took audiences on a witty sojourn to the mythical town of Sappho, Massachussets where big hearted, often sturdy women gather, most often at a coffee house whose name is the series title.  With celebrity guests, witty scripts and savvy stage direction by O'Harra, the series galvanized a community of artists who had been waiting to work together for a long time.  There emerged a sense of mission and a sparkle, as the creators realized they were filling a necessary niche by writing parts for lesbian and transgender actors.  Audiences responded to the project's wit, sincerity and depth (rare enough onstage; mostly absent Showtime's titillating TV counterpart, "The L Word").  The addition of "queer art stars" as celebrity guests added an extra dose of brio.  Critics reported that the mixed cast and breakneck schedule engendered a stylized entropy that made for must-see theater.  Each episode turned into a "happening" of sorts, geared toward giving the often splintered queer community a place to commune and laugh at itself in a light hearted way.  Then, O’Harra says, the undertaking "got bigger than itself very quickly."

2009 page