Past Shows

A HUNDRED DRESSES

The time is September 1938, and tumultuous social and economic forces, at work across the globe and in the United States during the Great Depression, are being felt in a public school classroom in a rural Connecticut town. Ten-year-old Wanda Petronski is trying to fit in among the other students in Miss Mason’s class, but that isn’t easy. For starters, she’s shy, and a slow reader. Her family’s poor, and they live in a shack on the outskirts of town. But the added stigma Wanda faces as a member of a Polish immigrant family comes to a head when she claims she has one-hundred beautiful dresses—though she’s only ever been seen in one.

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THANK YOU NOTES

Dating sucks. Disappointing first kisses, dangerous sexcapades, dysfunctional relationships, and awful exes but did you thank those exes?  On her wedding day, Jaime does just that.  What could go wrong?

COLUMBINUS

COLUMBINUS is an intersection of fact and fiction (comparable in many ways to The Laramie Project) that illuminates the realities of adolescent culture by exploring the events surrounding the shootings at Columbine High School nearly twenty years ago. The play weaves together excerpts from discussions with parents, survivors, journals, and community leaders in Littleton as well as police evidence to present this riveting docu-drama.

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What the critics had to say...

“a must-see for two reasons: the impressive performances by a young cast (some not yet out of high school themselves) and the post-matinee talkbacks with well-chosen spokespersons…Last Saturday afternoon, the post-show discussion was enlightening, sobering and profoundly moving, especially since one of the audience members who spoke up was a survivor of the Parkland shootings,”

David Warner, duPont REGISTRY Luxury Living Tampa Bay

What the critics had to say...

“a tremendous production,” touts Creative Loafing Tampa; “an experience not to be missed,” exclaims Broadway World Tampa; “had this been a movie…an Oscar Sweep in all categories,”

Groove Magazine and Theatre Tampa Bay

What the critics had to say...

“COLUMBINUS will thrill you, horrify you, entertain you, and rattle your world. It is an experience that is not to be missed–an important story, bravely tackled by an incredible young ensemble,”

Peter Nason, Broadway World

What the critics had to say...

“Had this been a movie, I would predict an Oscar sweep in all categories. Everything – from casting, blocking, set, sound, and lighting – came together in a way that was illuminating, heartbreaking, and completely and utterly disturbing, “

Deb Kelley, Groove Magazine

What the critics had to say...

“Innovocative has mounted a moving, well-produced play.” “It’s a tremendous production, well-acted and cleverly designed.” “…the acting rings so true: This is their reality. And, for a couple hours, they will make it yours.”

Cathi Salustri, Creative Loafing

What the critics had to say...

“Usually there was one or two that stood out above the others in a cast, but this was truly an exceptional ensemble piece, working like a well-oiled machine and every name – Nick Hoop (Freak), Ryan Fisher (Loner), Aubrey Vollrath (Perfect), Caleb Brening (Jock), Harrison Baxley (AP), Alexandria Crawford (Rebel), Fiona Walsh Calton (Faith), and Kidany Camilo Nieves (Prep) – needs to called out and praised for the believability of the archetypes portrayed, for making high memories flood back like salt to an open wound,”

Deb Kelley, Groove Magazine

What the critics had to say...

“…the best thing about COLUMBINUS: The outstanding ensemble. This is one hell of a cast that takes us on one hell of a ride,”

Peter Nason, Broadway World

UGLY LIES THE BONE

This award winning play chronicles the homecoming of a newly discharged female American soldier to Titusville, Florida. When she returns, Jess is still coming to terms with her own physical and emotional scars as she grapples with the question of ‘What now?’ As she undergoes a new innovative recovery process involving virtual reality, she builds a new world where she can begin to heal herself.

Winner! 2014 Woodward/Newman Drama Award
Winner! 2015 Laurents/Hatcher Special Citation of Excellence
Winner! 2016 Kesserling Prize for Playwriting

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What the critics had to say...

“On Jeannine Borzello’s modern living room set — with carefully arranged furniture and a sign saying “Welcome Home” — Tremblay dominates this play and wins our profound concern.“

— Mark Leib, Creative Loafing. —

What the critics had to say...

“Tremblay is splendid as Jess. What a challenge this role is: Half of Jess’s face is shredded; she needs a walker just to get from one side of the stage to another; she has little hope for the future, little sympathy for the unwounded, and she’s often in too much pain to even report how much pain she’s in. Tremblay nails it: She’s as real as is humanly possible, as full of yearning and determination and pessimism and fury as any pain-wracked ex-soldier might be under similar conditions.”

— Mark Leib, Creative Loafing —

What the critics had to say...

“Dawn Truax, so good in Innovocative’s Keely and Du earlier this year, once again shines. For much of the play, she is the “flat, not unkind” disembodied voice in Jess’ virtual reality therapy. And she nails the coldness of the part by adding a little bit of humanity to it, just a sliver. She sounds like a female HAL-9000, but with a tad more heart. Truax also gets to play the very small role as Jess’ mom, and she nails the older woman’s dive into dementia.”

— Peter Nason, Broadway World —

What the critics had to say...

“Tremblay gives Jess so much soul, so much fight, that we are on her side the whole time. She makes us understand the struggles of combat veterans suffering from PTSD and, alone, is worth seeing UGLY LIES THE BONE.”

— Peter Nason, Broadway World —

What the critics had to say...

“Erin Foster, as Jess’ sister, Kacie, whom we are told cries herself to sleep over her close sibling’s debilitation, brings it all back home. We see her balancing the try-to-make-things-appear-nice act with the other, more real world–a world of naked emotions. And the moment that she can’t mask it anymore becomes Foster’s finest moment in her performance.”

— Peter Nason, Broadway World —

What the critics had to say...

“Jess is the heart and soul of UGLY LIES THE BONE, and a top flight actress must be cast in the role in order for the overall show to work. Never fear, Marie-Claude Tremblay as Jess is sensational, giving the performance of her life.”

— Peter Nason, Broadway World —

KEELY & DU

Check out these great reviews and articles!

This show was awarded 4 out of 5 stars by Creative Loafing

Creative Loafing Review

Broadway World Review

What the critics had to say...

“On Jeannine Borzello’s modern living room set — with carefully arranged furniture and a sign saying “Welcome Home” — Tremblay dominates this play and wins our profound concern.“

— Mark Leib, Creative Loafing. —

What the critics had to say...

“Tremblay is splendid as Jess. What a challenge this role is: Half of Jess’s face is shredded; she needs a walker just to get from one side of the stage to another; she has little hope for the future, little sympathy for the unwounded, and she’s often in too much pain to even report how much pain she’s in. Tremblay nails it: She’s as real as is humanly possible, as full of yearning and determination and pessimism and fury as any pain-wracked ex-soldier might be under similar conditions.”

— Mark Leib, Creative Loafing —

What the critics had to say...

“We reviewers throw the phrase “must-see” around way too frequently, but in this case, it’s appropriate. This is one must-see,”

— Peter Nason, Broadway World —

What the critics had to say...

“Innovocative Theatre’s co-production with Stageworks is blessed by two intensely realized performances: K.D. O’Hair as a kidnapping victim and Dawn Truax as a woman counseling her to keep her baby. Powerful stuff,”

— David Warner, Creative Loafing —

What the critics had to say...

“Erin Foster, as Jess’ sister, Kacie, whom we are told cries herself to sleep over her close sibling’s debilitation, brings it all back home. We see her balancing the try-to-make-things-appear-nice act with the other, more real world–a world of naked emotions. And the moment that she can’t mask it anymore becomes Foster’s finest moment in her performance.”

— Peter Nason, Broadway World —

What the critics had to say...

“In an audacious promo ploy, Innovocative Theatre’s Staci Sabarsky wrote a post today on Theatre Tampa Bay’s Facebook page that began like this:

“Maybe you shouldn’t see Keely and Du.”

To which I can emphatically respond, YES YOU SHOULD. I saw it last Saturday afternoon, and it is, in short, a must. And you’ve only got this weekend to get over to Stageworks’ Channel District digs, where Innovocative is staging Jane Martin’s 1993 play, a Pulitzer finalist that is as relevant in today’s fraught climate as it ever was,”

— David Warner, Creative Loafing —

What our audience members had to say...

“I saw the show tonight and it is still disturbing me, long after I left the theatre. Each character has such depth and is so nuanced that you are drawn into their lives, their passions, and their experiences which reveal their character and their complexity.

In a country that is so divided (our government is even shut down tonight!) accept this invitation to come and listen. Enter into the experience of the other and explore the intersection of good and bad, right and wrong, in all of us.

I can think of no better way to mark the one year anniversary of the Women’s March than to march into Stageworks Theatre this weekend and see Keely and Du,”

— Vicki Walker —

What our audience members had to say...

 “You’ve all gained a new fan. Jarring and brought me to tears multiple times but I wouldn’t think it was good if it didn’t move me. More provocative than I’ve seen in a while.

I love the depth that the characters brought to the story. Helped to remind us that none of this is simple or black and white.

Congrats to Staci for bringing this all together. Really happy that we went. We want more,”

— Christina Liriano —

What our audience members had to say...

The production of Keely & Du was riveting! If you missed it…you missed an amazing performance well done by a great director, Staci Sabarsky, capturing the characters with intense interactions and great acting by all. We look forward to seeing more from Innovocative Theatre in the future,”

— Michelle de Lucca-Lowery —

PROOF

The reviews are in...

“Sabarsky is a burst of energy, a pump of adrenaline, whenever she hits the stage.”

— Broadway World —

The reviews are in...

“Like a cheerful song transposed to a minor, turbulent key, this portrayal has overtones that the other versions never suggested.”

— Broadway World —

The reviews are in...

“…the show belongs to Marie-Claude Tremblay…as Catherine, sort of a volatile Geek Princess to her father’s mentally shaky Geek God, Tremblay is the real deal.  It’s an actresses’ dream role, and Tremblay more than fills the bill.  I love it when I see a performer new to the area that has me raving from the top of proverbial mountains—watch this performance!”

— Broadway World —

The reviews are in...

Referring to a pivotal scene in Act II of PROOF, “…it’s easily the finest scene in the show (and one of the strongest scenes I’ve seen all year in any Bay Area show).”

— Broadway World —

The reviews are in...

“Devin Devi’s acting as Hal is less complicated—and nearly impeccable.”

— Creative Loafing —

The reviews are in...

“About Dennis Dugan as Robert , “…when he’s onstage, you can’t help but watch him, and there is a scene in Act 2 of PROOF that may be the best thing Duggan has ever done.  It’s heartbreaking and real, where the actor gets to run the gamut of emotions and showcase his immense abilities.  It’s revelatory.”

— Broadway World —

DARK VANILLA JUNGLE

Marie-Claude Tremblay’s mesmerizing solo performance as Andrea, a young woman grappling with what is left of her sanity received rave reviews at the First Annual Tampa International Fringe Festival! Philip Ridley’s harrowing script and Tremblay’s performance made audiences and critics alike laugh, cry, and squirm in their seat.
Marie-Claude Tremblay’s mesmerizing solo performance as Andrea, a young woman grappling with what is left of her sanity received rave reviews at the First Annual Tampa International Fringe Festival! Philip Ridley’s harrowing script and Tremblay’s performance made audiences and critics alike laugh, cry, and squirm in their seat.

Check out these great reviews and articles!

Tampa Bay Times

Creative Loafing

Creative Loafing # 2

Broadway World

Arts Tampa Bay

The reviews are in...

“…a must see…”

— Creative Loafing —

The reviews are in...

“great and extraordinary writing…”

— Creative Loafing —

The reviews are in...

“…a stunning and powerful play.”

— Creative Loafing —

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