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Still from the puppet film
How to Raise a Revolution by Brian Dang. |
PARLEYis a COLLABORATIVE PRODUCTION COMPANY
that develops & launches EXPERIMENTAL, AFFORDABLE dramatic art IN ALL FORMS. make plays, not war |
Parley Lit Issue # 3 is available
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The term parley derives from the French verb parler: to speak. Historically, a parley was a meeting between adversaries in order to negotiate an end to battle. To signal a willingness to talk peaceably, armies would run up a white flag.
In a parley, people of vastly different opinions and experiences make themselves vulnerable by holding conflicting truths together.
Creating is a solitary act, and isolation can make art rigid. By committing to an ongoing process of writing, feedback, and production, we surrender the lone struggle and move forward in collaboration. Watch the 2025 Season Announcement |
Upcoming
In a world where sick folks are treated like living monsters ...
Well ...
In a different world, where sick folks are treated like a really specific kind of monster, a pair of cousins take a job pretending to be walking sick folks in their hometown, Pensacola, Florida, in the wake of a real big hurricane. All they have to do is make it from the bay to the sacred heart hospital.
Well ...
In a different world, where sick folks are treated like a really specific kind of monster, a pair of cousins take a job pretending to be walking sick folks in their hometown, Pensacola, Florida, in the wake of a real big hurricane. All they have to do is make it from the bay to the sacred heart hospital.
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Parley presents a world premiere workshop production. Still Human by Asha Dore directed by Rebecca Tourino Collinsworth featuring Katherine Jett Cynthia Geary Brandon Tourino Collinsworth Rebecca Tourino Collinsworth Live and in person! February 24 7 pm West of Lenin |
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From drew david combs: a new play about trying to fix what's broken down in the distant future.
"a note on the emotional capacity of robots: "Have you ever, in the course of requesting something, said a swear word at Siri? When you reset the app to ask your question again, it's as if you hadn't sworn at all. Shenandoah is similarly programmed––the audience is likely to feel sympathy or pity for Red and Green, but the robots are not actually absorbing the abuse. There should be no differentiation in how cheerful Shenandoah is for each user, although their comportment and predictive suggestions will vary based on what they learn from their user. Care should be taken to protect the actor playing the robots, but the robots themselves do not have feelings. " |
Press
Parley is named a resident company of Theatre Puget Sound in the Seattle Times. Read the article here.
Parley's artistic director was interviewed by the Seattle Times. Read the article here.
Parley's production of Dirty Beasts was reviewed by Drama in the Hood. Read that review here.
Our production of Maiden Voyage was reviewed by the Seattle Times. Read that review here.
Parley's artistic director was interviewed for The Mumble, an international theatre journal. Read it here.
Our production of The Oysterman's House was reviewed by Drama in the Hood. Read that review here.
Our co-production of Gills! Gills! Gills! was reviewed by Drama in the Hood. Read that review here.
Parley's artistic director was featured in the March/April 2020, Sept./Oct 2017, and Spring 2024 "Mentorship" issues ofThe Dramatist.
Parley's artistic director was interviewed by the Seattle Times. Read the article here.
Parley's production of Dirty Beasts was reviewed by Drama in the Hood. Read that review here.
Our production of Maiden Voyage was reviewed by the Seattle Times. Read that review here.
Parley's artistic director was interviewed for The Mumble, an international theatre journal. Read it here.
Our production of The Oysterman's House was reviewed by Drama in the Hood. Read that review here.
Our co-production of Gills! Gills! Gills! was reviewed by Drama in the Hood. Read that review here.
Parley's artistic director was featured in the March/April 2020, Sept./Oct 2017, and Spring 2024 "Mentorship" issues ofThe Dramatist.
© 2024, Rebecca Tourino Collinsworth