The Adrienne Arsht Center for the Performing Arts of Miami-Dade County (@ArshtCenter) will present the South Florida premiere of Small Mouth Sounds (@SmallMouthPlay), the Obie Award-winning, critically acclaimed play by Bess Wohl.
Playing Feb. 16-Mar. 4, in the intimate Carnival Studio Theater (Ziff Ballet Opera House), Small Mouth Sounds continues the center’s 2017-18 Theater Up Close Series.
Tickets to Small Mouth Sounds are $50 and $55, and they may be purchased through the Adrienne Arsht Center Box Office by calling 305- 949-6722, or online at www.arshtcenter.org. (All programs, artists, ticket prices, availability, dates and times are subject to change without notice. Visit www.arshtcenter.org for up-to-date information.)
In the overwhelming quiet of the woods, six runaways from city life embark on a silent retreat. As these strangers confront internal demons both profound and absurd, their vows of silence collide with the achingly human need to connect. Filled with awkward and insightful humor, Small Mouth Sounds is the unique and compassionate new play that asks how we address life’s biggest questions when words fail us.
This 2016 Critics’ Pick (The New York Times, New York Magazine, Time Out New York) was written by Drama Desk Award-winner Bess Wohl (Pretty Filthy) and will be directed by Obie Award-winner Rachel Chavkin (Natasha, Pierre & The Great Comet of 1812).
The cast includes Connor Barret (Jan), Ben Beckley (Ned), Edward Chin-Lyn (Rodney), Orville Mendoza (Teacher), Brenna Palughi (Alicia), Socorro Santiago (Joan), and Cherene Snow (Judy).
The original design team of Small Mouth Sounds returns for the national tour and includes Obie-winner Laura Jellinek (Scenic Design), Tilly Grimes (Costume Design), Mike Inwood (Lighting Design), Lortel nominee Stowe Nelson (Sound Design), Andrew Schneider (Projection Design), and Noah Mease (Prop Design). Chavkin and the designers will restage the production, originally performed in traverse, for a proscenium setting.
The inspiration for the play came from Wohl’s own personal experience at a silent meditation retreat. Surrounded by people who were looking for a way for their lives to be changed or healed, Wohl decided that this was fertile subject matter for a play.
“What I loved about that for a play is that what’s necessary for any play is that all the characters really need something. This is such a great environment: a play where there is this automatic need,” Wohl said. “I think the central question of the play is should we seek peace or not, and if so, how?”