Ice Cream premiere postponed!

Due to unforeseen circumstances with actor availability, my short play Ice Cream will no longer be premiering on Monday 16 June with Little Pieces of Gold and instead will be on for their September performance at Southwark Playhouse. Apologies to anyone that has booked tickets specifically to see Ice Cream but there will be 7 other smashing plays on, so do still check it out. 

More news to come soon on the September premiere of Ice Cream.

Hot Dog USA Premiere Round Up

Here are some highlights. 

Miami Herald

  • Hot Dog is an imaginative take on a situation that resonates disturbingly in our aging-averse culture.
  • Thinking Cap Theatre offers plenty to ponder in Sarah Kosar’s Hot Dog.
  • Sarah Kosar’s Hot Dog is a dark comedy that clearly fits the company’s mission.
  • Under Stodard’s direction, the actors illuminate the realities and complexities of care giving, here taken to extremes in Kosar’s toxic setup.

The Sun News Miami

  • [Hot Dog] is a truly fine production that deserves to be widely seen. 
  • As the name of the production company suggests, you need to put your "thinking cap" on to come to grips with this disturbing and provocative play. 

Around Town Newspaper

  • Hot Dog, a tart and quirky black (well, dark brown) comedy from London of the type so beloved by the Brits – iconoclastic, freewheeling, eccentric. 
  • Hot Dog was penned by a young American ex-patriate with what looks like an important future ahead of her. 
  • Playwright Sarah Kosar doesn’t fool around. We are immediately privy to conversation about … poo. A perfectly sensible tete-a-tete, only one of the “tetes” is a human being in the guise of a dog. Kosar gets you by the lapels.
  •  Is it supposed to be a dog acting doglike or a human pretending to be a dog? The genius of the play is that the answer is left to the audience.

Miami Art Zine 

  • Hot Dog featured as 'one of the top two theatre picks to see in South Florida. 

New Hot Dog Review from Around Town Newspaper

Thinking Cap Theatre’s
“Hot Dog” bites back
~Jesse Leaf, Around Town Newspaper

Nicole Stodard’s Thinking Cap Theatre has quickly carved a niche for her particular brand of incisive and exciting theater in South Florida. Her seeming mystical ability to seek out and produce little-known plays of richly provocative content and meaning is quite unique. Now her talents have gone international. The current play lighting the stage at Nova Southeastern University’s Black Box Theatre (doing justice to the former home of the lamented Promethean Theatre) is “Hot Dog,” a tart and quirky black (well, dark brown) comedy from London of the type so beloved by the Brits – iconoclastic, freewheeling, eccentric. Only this was penned by a young American ex-patriot with what looks like an important future ahead of her.


A typical review here would only debase the brilliant multi-dimensional work and interplay of plot, character, psychological and metaphysical conflict (I wish there were a word like “proflict”). It is, on the most basic level, the sum of the lives of the characters and it can be seen as an exposition of our lives — every last one of us. What we are at the final summing, our metaphysical displacement in the world, is a compilation of the tiny acts we played, deeds we chose, and the thoughts we acted upon.


The actual setting in Nova’s intimate space is a magically clever multi-dimensional, tableau by Chas Collins that places a perfectly normal, if not banal, living room in front of a pop artist’s depiction of clouds framing a large projection screen. Steps separating the audience, backed by an ivy-hung picket fence, fool the eye into seeing a lot more depth than is actually there. It is a layered psychological montage often backed by a huge projection of a bridge (keep reading). It quite dominates the mood.


Playwright Sarah Kosar doesn’t fool around. We are immediately privy to conversation about … poo. A perfectly sensible tete-a-tete, only one of the “tetes” is a human being in the guise of a dog. Kosar gets you by the lapels. Is it supposed to be a dog acting doglike or a human pretending to be a dog? The genius of the play is that the answer is left to the audience. The Dog, which is the character’s only name, is the mother of two women, Carol and Maryanne, who has grown old and dependent on them for her daily needs. This, of course, is the natural course of things, but on quick reflection, also holds true of caring for an animal. Let’s say a dog. 


Kosar periodically plants raw evidence of the resentments and coping mechanisms we all feel regarding responsibilities to our loved ones. Dog, once in the position of power, is reduced to a nearly helpless and neglected pet and retaliates with “punishments,” like relieving herself on her daughters (done quite civilized on stage, don’t worry) or paying for her time and affection. Dog poo on the floor is considered just payment for countless dirty diapers in the past.


A short word about husband Michael, who responds to this avalanche of Gestalt motives, experiences, and conclusions with choosing another universe, one in a difference location and centered around cats, with their fierce independence and reduced responsibility. The aforementioned bridge is his ticket out of his world, but also forms the toxic connection between mother and daughters. Works for him.


Superlatives for the cast each amazing member seems made for their role. Sally Bondi was awesome to the point of transmogrification. There’s an instant flash of dislocation when, at the play’s end, she takes off the dog mask she has been wearing all evening. Ann Marie Olson’s subtle and ultimately powerful facial expressions as Carol are acting at its best. Niki Fridh kept her feet firmly planted on the tightrope of Maryanne’s character, gamely working through her insecurities and abuses without succumbing to being a victim. And Mark Duncan, too, braved the slings and arrows of a character on the edge of inconsequence with a knowing and deftly handled Michael. 


Hot Dog USA Premiere Reviews

Miami Herald says:

Thinking Cap Theatre offers plenty to ponder in Sarah Kosar’s ‘hot dog’

"Hot Dog is an imaginative take on a situation that resonates disturbingly in our aging-averse culture." - Miami Herald

Full review can be read here

Sun News Miami says: 

"As the name of the production company suggests, you need to put your “thinking cap” on to come to grips with this disturbing and provocative play. It is a truly fine production that deserves to be widely seen." - Sun News Miami

Full Review can be read here. 

Full Review can be read here

Interview with Thinking Cap Theatre for USA Premiere of Hot Dog!

To read the full interview, please see below or visit Thinking Cap Theatre's blog here.

Interview with Sarah Kosar - Hot Dog USA Premiere 

by Mary Slebodnik

When I Skyped with Sarah Kosarauthor of the darkly comic Hot Dog, I was caught off-guard by her sunny personality. After all, Hot Dog tackles one of the darkest issues that can haunt a family: elder abuse. In the play, two daughters struggle to balance caring for their mother with living their own lives. Onstage, the mother is called, “The Dog,” and wears the head of a dog costume. Thinking Cap Theatre will perform the U.S. premiere of Hot Dog on May 15 (click here for details).

It makes sense that the playwright who uses humor to guide us through darkness approaches her craft with energy and creativity. No bemoaning of starving playwrights or the dying theatre for her. She speaks passionately of the dozen or so projects she has in the works–solo and collaborative–and brags that in London, she could see a play every night of the week and still not see all of the new work coming out.

Kosar describes herself as an American playwright living in London. She grew up in Pennsylvania and received Bachelor’s Degrees in theatre and film from Pennsylvania State University. Hot Dog is now on the syllabus at PSU for advanced playwriting.

Kosar moved to London and completed her Masters at Royal Central School of Speech and Drama. Her dissertation play, Egg, was a commended play featured in a showcase for the BBC International Playwriting Competition. Post-Hot Dog, she has finished a new play, Armadillo, and her next one, Spaghetti Ocean, is in the works.

What made you decide to attend graduate school in London?

I studied abroad and fell in love with it. I saw so many new pieces of writing. It was like, “Oh my gosh, new writing exists?” You write plays, and then they’re up. I feel like it’s a much different experience in America. It takes longer.

I had an internship that hired me on so I could stay longer. I stayed until August, and then decided on getting into a Masters program before I left the country. That was the promise I made to myself: Don’t get on the plane unless you have a way back.

What do you like about London?

You can see live actors in a new piece of writing for cheaper than going to the movies. I think that’s just unbelievable. I wanted to see the The Grand Budapest Hotel (2014 film) and it’s 17 pounds to go and see it, but then it’s only 10 pounds to go the National Theatre. I think that’s what I love the most: that I can go see a different play every night and still not see everything that’s on.

What made you want to write Hot Dog, a play about two daughters caring for their elderly mother?

We’re all going to have a part to play in that dynamic. We’re living longer. How are we going to take care of our parents today? Who’s going to take care of us when we’re their age? With us being busier, working longer into our lives, the sense of obligation is so difficult. What is the right thing to do? I feel like there is not a clear cut answer whatsoever. So, I got really excited about that idea: What are we really obligated to do as a daughter or as a mother? I was talking to my friends here (in London), and a lot of their families were putting their families in homes. In America, we tend to take care of them if it’s a small town (the play is set in the small town of Butler, PA), but maybe it’s different in the cities.

What does the metaphor of the dog costume mean to you and what gave you the idea for it?

I thought if we had a different lens to look at the issue, we might see things a bit more clearly. That’s when I came up with The Dog. When I was listing off the things we have to do take care of our parents, I was thinking, “This is a lot like a checklist for taking care of a child or a pet.” I thought it might be interesting to see a dog onstage.

What does it mean to me? That’s a good question. Because I feel like every day it means something different. It’s about how we see ourselves. Does the mother perceive herself as a dog, or is her daughter the one who sees her that way? I feel like in Hot Dog, sometimes you’re looking at Maryanne and you’re like, “Oh my God. You’re treating (your mother) like a dog. That’s why she’s a dog.” But other times, the dog is speaking like a dog, and you’re like, “Well…you kind of deserve it because you’re asking to be treated like a dog.” I feel like a lot times, you know, in life, sometimes we get things because we ask for them, even though they might not necessarily be something we want. A lot of people say  you get the love you want. If I feel like I don’t deserve love, am I going to be loved badly? Yeah, I think the dog head is a question of who is choosing to be treated that way. How do we see ourselves, and how does that affect how others see us?

If there is one thing you could change about how the elderly are treated/stereotyped in American culture, what would it be?

I think sometimes it’s very easy to characterize or caricature old people. We see them as either mean and grumpy, or else we seem them as the fluffy Grandma, like, “I don’t know what’s going on! Oh my goodness, you kids these days.” What I think everyone needs to think about is: we’re all the same whether we’re old or young. I feel like sometimes we can lack a humanity for old people. We feel like they’re out of our culture now; they don’t really understand social media; they don’t know how to work computers; they’re no longer part of today. Whereas, they are today. I think sometimes people can just lack to see humanity in the old.

How did you push against stereotypes of the elderly in your portrayal of The Dog?

I wanted to make sure she was really smart. Sometimes people think the elderly don’t know how to work things anymore. They’re not smart anymore. They’re not all there anymore. Which, of course, can happen, but most of them are totally there. Age doesn’t change what’s in our minds or in our hearts. I just wanted to make The Dog  really smart, really on it. Even though she might not be doing the best things, she knows exactly what she’s doing. She’s totally with it. She manipulates and escalates in all of the same ways Maryanne does despite the age difference, so she’s definitely on the same level. But it is always hard, because there is the stereotype of the grumpy old grandma, so I was trying to stay away from that while telling the story.

Sometimes each of the characters in Hot Dog behave in really unsympathetic ways. How did you balance that with keeping the audience emotionally invested in the characters? How did you walk that line?

Yeah, I actually think that was one of the hardest lines in writing it and doing a lot of the rewrites. I was like, okay, they’re being really mean to each other. But I guess rather than being sympathetic, I wanted to be empathetic. No one is really out scot-free in the play. Everyone has a bad hand to play in it. I think as long as we understand why, hopefully we can get behind them.

Who needs to immediately buy their ticket to see Hot Dog?

I think anyone who is a mother or daughter needs to see this. We’ve all had these conversations as mothers and daughters. I think yeah, at the core of it, there’s that female relationship, and the obligation of it. There’s nothing that quite matches it like a mother and a daughter. I think everyone needs to see it just because we’re all going to be old one day. We can’t escape that. We all know that’s going to happen.

How has your writing changed/evolved since Egg?

I think it’s gotten a bit sharper. And I feel like I think a lot more about what I’m going to write before I actually write it. Now I’ve got a whiteboard by my bed, so every morning when I wake up, or in the middle of the night, I see all of my ideas, so I can plot things out before i start writing.

The community of writers I hang out with help me so much. What’s really great about writers is that we’re not competitive. We all have our own stories to tell. There’s this cliche of, “Oh, I’m really scared another writer is going to steal my idea.” But even if I’ve got the same idea as another playwright, the way I’m going to write it and the way she’s going to write it are going to be totally different. So it has been really exciting to be part of building that community of writers and have that outlet. I think all great ideas come from collaboration or discussion–and that’s where some of my best things have come from.

I’ve recently started a writing group called Playdate. Every month, eight writers and I get together and see a play, read a play, and read each other’s work. Some great things have already come from that.

Do you think writing groups can provide support for writers who have graduated from school and are trying to establish themselves?

Hugely, hugely. Like we say in the group, “Now we have other people who we are accountable to. We have to do 20 pages by the next time we meet. We have other people counting on us..” That way, can’t just say, “Well, I’m going to go on Netflix.” (The group) will know. To be a writer, you have to write. I like to call Sunday my Holy Sunday, where I just write. Whatever I’m working on, I give myself a limit. I have to work on this two more hours, five more hours. I have to stick to that routine to make it happen.

Who are your biggest influences?

One of my greatest mentors is  Dr. Susan Russell from Penn State. She’s the person who first got me into playwriting. She said, “You should write a play.” And I said, “Okay….I’ll write a play about a single father who is taking his daughter to the gynecologist.” And then she was like, “You should keep writing plays.” And I was like,”All right.” She was a great, huge influence to me.

One of my favorite playwrights is Lucy Prebble. I love the way that she uses theatricality and metaphors, just brilliantly. And I love Sarah Kane. Sarah Kane made me believe in new writing. When I read Blasted I was like, “Oh my God,” this is HBO on the stage.  I want to do this.” And that’s what I hope one day–that I can write something that has that sense of being on HBO or Netflix. She really opened things up, to see what was possible to actually put onstage. You think Arthur Miller, Tennesee Williams…but she was just, whoa.

And you know, my husband has been a great influence of mine. And he’s also actually my toughest critic. He’s really sweet and great, but you know, it’s really nice to have someone supportive and close to you who won’t just read your work and say, “Oh, it’s really great. I love it.” Because, you know, it can always be developed and always honed and made better. In our wedding vows, it was in there that he can’t write a play. He always jokes, he’s like, “Oh, here’s my play that’s just been hidden under my pillow until now, sorry.” Yeah, he’d never seen theatre before we started dating. What I love about him reading my work is that if it doesn’t make sense, he says, “I don’t get this.” And when I’m onto something, he says, “I love this. This is really good.”

I think just day-to-day life, too. As a writer, it’s so important to be alive and watching things and living in the world. I’ve got a day-job in recruitment at a creative tech company. I always say I would never want to give up my day job because that’s where I get so many of my ideas. How do people work? What do people want? It’s more clear when you’re out there living.

What are you working on now?

My husband and I have done an experiment called “We Eat Together.” I made up these rules that for thirty days, we had to eat together whether we were (physically) together or apart. If we were together, we would have to eat one portion of food and share it–one bowl, two forks. If we were apart, we could have whatever we wanted and however much we wanted, but we would have to Tweet a picture of us taking a bite. So we were looking at our relationship to food, and looking at being together, because being together was kind of a sacrifice. That was a bit of research for me.

I’m now working on Spaghetti Ocean. It is about a girl named Rachel who wants to get fat. She feels that she lacks presence in the world. She’s petite and small and people just walk right past her. She doesn’t have a space, I guess. So she can’t grow, but she can expand.Because our culture is so bent on skinny, skinny, skinny. Don’t eat this, don’t eat that. I want to look at what does it mean if a woman wants to get fat. Rachel works in a food factory. She’s not cooking food; she’s constructing it. She’s just dialing in sugar on sugar on fat on fat. It’s a look at what it means to make food.

I also have a commission from Little Pieces of Gold to write a short play that will premiere in June at the Park Theatre in London. The theme is social media, and I’m looking at how we die digitally. If I died today, all my most important digital things–my passwords, my accounts, my finances–what if my husband Sam doesn’t have the passwords? What is my presence on the Internet? And if I was to die, how would I die digitally? Or would he try to keep me alive, in some sense?

I saw that you wrote a radio play called Hashtag in 2013. Is social media in theatre an interest of yours?

So, I was with the Hampstead Theatre. I was one of their associate writers, and I teamed up with Roundhouse Radio and wrote Hashtag. Radio plays are really interesting because they do not exist in America. They asked me to write a radio play and I was like, “Hmm what’s that?” In America, you only hear little Bible stories on the radio sometimes if you’re driving in the country.

So Hashtag is about students, 12 to 16-year-olds, and they acted it out as part of their term with Roundhouse. They played teenagers pretending to be celebs on Twitter. They were interacting with each other on Twitter as these celebrities, but were themselves at school. So let’s say Michelle over there, she’s Beyonce on her Twitter account, and I’m Britney Spears. How does that relationship translate to the physical world? Because I am obviously not Britney Spears, even though I would love to be.

So I guess yeah, I really am interested in social media and tech and kind of how that all works together. It’s been explored a little bit in theatre, but I think we need to find a way to kind of incorporate the theatricality of social media instead of just (having a character say), “Oh I talked to him on Twitter.” How can we see the theatricality in that type of communication? So I’m interested in that and I’ve been trying to play with that for the Little Pieces of Gold play.

For you, why plays and not another genre?

I think it all starts with my childhood. I always thought it was going to be something else, and then it slowly led into writing. First of all, I was going to be a Spice Girl, I loved the Spice Girls, that’s where the thought started that I had to get over here. Then I thought I was going to be a singer/songwriter. Then I thought I was going to be an actor. That’s what I went to my undergrad for, acting. And then I began to realize I wanted to tell stories rather than be in them. I got into it that way, I guess.

My husband likes to call me a liar, but I tell him, “I’m a dramatist!” Every story I tell, he’s like, “Ok, so the real story is…” and I say, “I’m a dramatist. Come on.” So that’s how I got into it. I just started writing things, and eventually had that feeling of being able to sit in your pajamas and write a story that you’re really excited about, and then put it onstage, and to be able to make people laugh. It’s just the most amazing feeling. I kind of got addicted to that.

I think the immediacy of it is what makes it so exciting. As a playwright, I can draft something, get it onstage in front of people, have it run through, and get immediate feedback and know what they think of it, rather than the way it is for fiction, nonfiction, or even screenwriting. You know, all of that stuff takes a lot more time. They are a bit of a solo experience, while theatre is such a collective community. You can see exactly when they’re not laughing where they should be, where they’re laughing where they should be crying, and where they’re just bored.

Sometimes it’s a lot easier to tell a story onscreen with the effects and everything, but there’s so much you can do with live human beings onstage that you can’t do with any other medium. To really make people feel something right there and then. I love–I love the whole visceral aspect of theatre. I’m really excited to be working with Thinking Cap. Just because, they’re all about the visceral. It’s really exciting to see that. You’re never going to be bored watching something like that.

Last question: I’m crazy about your stop-motion video, “Caution: Flammable When Hott.” Can you tell me a little about it?

Yeah! It’s about an unlikely match, and what happens when you fall in love with somebody that maybe you shouldn’t. And that bear gave that paper maybe just a little bit too much love, and things got a little hot and heavy unfortunately.

I think I was just literally bored one night and was playing with that bear and there was that paper on the ground. I started playing around with it, and it just went from there. I guess that’s what I do with my free time! I started to think, oh, maybe this could be something. There were a lot of times where the paper accidentally moved. I shot that video maybe four or five times, which is a total nightmare. The first night I was just sort of playing, and then I took a couple of weeks to actually plan it all out, and film it, and accidentally burn the floor. I’m so glad you liked that. That’s great.

Sarah Kosar will be attending the premiere of her play Hot Dog Thinking Cap Theatre on May 15th. Buy your tickets here!

Talkback and Book Signing for Hot Dog's USA Premiere

Hot Dog will be premiering in Ft. Lauderdale, Florida in two weeks! I'm also really excited to announce I will be doing a book signing and talkback after the performance on Sunday 18 May at 3pm! 

Further breakdown on the production schedule below as well as on Thinking Cap Theatre's website here.

TCT proudly presents the U.S.A Premiere of hot dog by Sarah Kosar

Featuring Sally Bondi as Dog,
Niki Fridh, Ann Marie Olson, & Mark Duncan

MAY 15 - JUNE 1, 2014

Nova Southeastern University
Black Box Theatre | Don Taft University Center 
3301 College Avenue, Davie, FL 33314

TICKETS $35
CLICK HERE TO PURCHASE TICKETS

Performance Schedule
May 15 (Preview), 8pm
May 16, 8pm (Opening Night)
May 17, 8pm
May 18, 3pm (Talkback & Book Signing w/ Playwright, Director & Cast to follow show)
May 22, 8pm
May 23, 8pm
May 24, 8pm
May 25, 3pm
May 29, 8pm
May 30, 8pm
May 31, 8pm
June 1, 3pm & 7pm (2 shows Closing Day)

For questions or to reserve tickets by phone, call 813.220.1546

About the Play
Remember all those adages about dogs? In Sarah Kosar's biting dark comedy, those adages compel the story in ways that will surprise you. Meet Dog. She's feisty, stubborn, and rather blue. She lives next door to her daughter, Maryanne, and her son-in-law, Michael, who desperately wants a new pet. After years of caring for Dog, Maryanne is tired as a, yep, you guessed it, so she calls on her sister Carol to throw her a bone and return home to help out. What ensues is a funny, disturbing, and thought provoking exploration of what it means to give and receive care.

About the Playwright
Sarah Kosar is an American writer for stage and screen living in London. Her play hot dog received its world premiere in March 2013 at The Last Refuge, London and was produced by Decent and published by Playdead Press. Pennsylvania State University has included the play in the syllabus for its Women in Theatre course.

Sarah holds a double BA from Pennsylvania State University in both Theatre and Film. She moved to London following university and received a Masters in Writing for Stage and Broadcast Media from the Royal Central School of Speech and Drama in 2011. Sarah received a distinction on her dissertation play Egg,  and it was featured in a showcase of commended plays submitted to the BBC’s International Playwriting Competition. 

In London, Sarah has worked with The Royal Court, Hampstead Theatre, Soho Theatre, Theatre Centre, The Roundhouse, The Lyric Hammersmith, Descent, the BBC, The Old Red Lion,  Southwark Playhouse, Arch 468 and more. She has taken part in the Royal Court Young Writers Programme, Royal Court Studio Invitation Group, Lyric Young Writers, and Soho Writers Lab. 

She recently worked as a Hampstead Theatre Associate Writer with Theatre Centre as part of Skylines, an initiative for writers to create work for young audiences. She also wrote Hashtag, a short radio play in conjunction with Hampstead Theatre and Roundhouse Radio for 12-16 year olds. 

In America, her first play Phyllis was selected and published for The Cultural Conversations Festival in State College, Pennsylvania. 

Sarah works as a Literary Associate for Orange Tea Theatre, Netherlands and has also worked as a filmmaker in stop motion.


About the Production Image by Donna Sanna
The vintage anthropomorphic image you see above (entitled "Bebe") is the work of artist Donna Sanna. "Bebe" and several other images by Donna will be available for purchase at hot dog performances for a discounted price of $12.  The 5X7 images are signed by the artist.

Born and raised in the suburbs of Philadelphia, PA, Donna Sanna's anthropomorphic digital artwork can be found in a myriad of public and private art collections both in the U.S. and abroad. Most notably, in 2011 "Ramsey" became part of the permanent collection at the Rochester Museum of Fine Arts in New Hampshire. She is a lifelong supporter of animal welfare and has contributed to numerous fundraising events through her artwork. Donna currently works full time as a bookkeeper and resides in West Chester, PA with her family.  To see more of Donna's work, visit her Etsy page.

New commission for Little Pieces of Gold

After collaborating with Little Pieces of Gold in 2013 with the production of her short play Fox, Sarah has been asked to write a new piece for the short night at the Park Theatre in Park 200 on Monday 16 June 2014. 

The night will include 8 short plays about social media.

Little Pieces of Gold was established in 2010 by artistic director and producer, Suzette Coon. We set out to discover, nurture and develop new writing from emerging UK writers and have produced the plays of over seventy playwrights at leading London fringe theatres. Our showcases garner much industry interest, have gained a reputation for facilitating long term creative collaborations between writers and directors and providing a platform for new voices, theatre makers and performers.

Stay tuned for the announcement and further details on Sarah's play that will be featured. 

Fox performed for Little Pieces of Gold at The Southwark Playhouse

Screen Shot 2013-11-25 at 21.15.10.png

Fox was performed on Sunday 24 November for Little Pieces of Gold at The Southwark Playhouse. It was shortlisted for the event, and then chosen by director Anthony Almeida. I was really honoured to have such a great team working on the piece and bringing out new parts of the characters I couldn't have seen without them. I was also honoured to be among such other great creative company!  

*The above picture is a beautiful card Anthony made me! 

Screen Shot 2013-11-25 at 21.18.20.png

 

 

 

 

 

 

 

 

FOX 

Performance Date: 24 November 2013

Director: Anthony Almeida

Producer: Suzette Coon

Susan: Meghan Leslie

Charlotte: Alison Campbell

Screen Shot 2013-12-07 at 10.06.15.png
Screen Shot 2013-11-25 at 18.58.12.png

 

 

Some great twitter responses on the left from Fox