Bexar Naked Playwrights

Black Boxer Shorts

Five outstanding plays, written by our Bexar Naked Playwrights, offering laughs, poignancy and strong production values. The action takes place in five different diners. Click on an icon below to see pictures, videos and more.

     Setting the Stage - click on the icon to see pictures, videos and
     more taken during the buildup, setup, and Dress Rehearsal stages. 
     The set, designed with an eye for detail by the gifted Nathan
     Thurman, accommodates the very different circumstances for each
     piece. And it’s fun to watch the stage crew transform it.
    Rebecca Burroughs’ “The Guessing Game,” in which a couple
   (Lindsay Van de Kirk and Evans Jarnefeldt) stops into a diner to
    confront a young man (Louis Valdez) whom they believe
    impregnated their teen-aged daughter. The piece, directed by
    Marisela Barrera, is well-structured  and well-acted.
   Lindsay Van de Kirk’s “American Optic,” the often laugh-out-loud
   funny tale that spins from things having gone awry at the ill-
   considered Mountain Cedar Festival, which an old codger named
   Gordon (Evan Frazier) believes has been ill-planned. He winds up
   hiding out from his daughter (Hannah Brogdon) in the diner, run by
   the cedar-fever-afflicted Lyle (Esteban Reyna). Van de Kirk weaves a
                                   bit of romance into the tale, directed with wit by David Rinear.
   “The Roadside,” written by Alejandro Urdiales and directed by
    Barrera, is the magical realism-laced tale of a diner that helps lost
    souls find what they need. It’s run by Tom (Peter Northrop), who helps
    a drifter named Finn (Anthony Ross) and a troubled single mother
    (Alexandra Perez) get together.
    “The Outskirts,” written by Sheila Rinear and directed by her husband
     David Rinear, opens with an older woman (Laurie Fitzpatrick) arriving
     early one morning at the diner run by Gabbie (Sonya Schuler). The
     older woman talks about the difficulties she’s been having with her
     daughter (Heather Kelley), who seems to be more interested in her
     inheritance than in caring for her mom; she finds a friendly audience
                                     in Gabbie, a caring woman whose own mother recently passed
    Mike Greenberg’s “Max and Maggie,” directed by Aaron Aguilar. In
    it, three people (Jarnefeldt, Ross and Brogdon) in blood-spattered
    clothes are waiting; eventually they are joined by a fourth (Lisa
    Valle). To say more would ruin some of the fun of this dark, romantic
    and very funny piece.