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10 MINUTE PLAY 
FESTIVAL

PROGRAM

Nina's Birthday Party, Pt. 27

by
Maviene Tran

Director

Dramaturg

Dramaturg

Julie

Mark

Holly

Ian

Nina

Stage Directions

Millie Harrison

Tracy Mertons

Miriam Cervantes

Saige Azaria 

Eduardo Torres

Marie Molina

Markel Sealy

Alexis Gardner

Maxwell Montgomery 

Dramaturg Note

Maybe you’ve heard of the film Groundhog Day? Whether you’ve heard it or not, it was the inspiration for Cal State Fullerton playwright Maviene Tran’s play that may leave you on the edge of your seat wanting answers, or feeling hopeful, or perhaps spark another question or two. Birthday parties are all about having fun, and receiving gifts, which is what most people look forward to. A birthday party is celebrating one’s existence into this world, it shouldn’t invite any sort of negativity into the room, it shouldn’t cause any sort of dread, after all, right? It is a birthday party, what harm could wanting to throw a little ol’ birthday party for someone cause? And what harm is there in having more than one birthday party? What if you could relive a moment as joyous as your birthday party, a surprise party no less, wouldn’t that be fun? Wouldn’t it be fun to relive those happy moments in life, those precious moments with friends and family, aren’t those the moments that make life worth living? People only get one chance at living after all….

— Tracy Mertons & Miriam Cervantes, dramaturgs

The 'D' Play

by
Melizza Minger Urquilla

Director

Dramaturg

Dramaturg

Leo

Witch 1

Witch 2

Witch 3

Stage Directions

Cristina Goyeneche

Audree Wells

Nia Hughes

Logan Beers 

Jora Carlo

Megan Elise Greer

Hosannah Adams

Jocelyn Loera 

Dramaturg Note

Melizza Minger Urquilla, a graduate student from UC Riverside, was inspired by the explosion of Leonardo DiCaprio memes around 2015. Although she hadn’t seen all of his films, she was fascinated by how the internet transformed him from a revered actor, who we all hoped would FINALLY win an Oscar, into the iconic pop culture meme. 

 

Amused by the endless supply of memes surrounding Leonardo DiCaprio, she incorporated references to them and some of DiCaprio’s most well-known movies: The Great Gatsby, Titanic, Catch Me If You Can, Inception, and more. She was also fascinated by this “rule” the Internet created about DiCaprio not being able to date anyone older than 25. People created a graph tracking his age alongside that of his girlfriends and realized none of them were older than 25. Well, that is, until now, with his current girlfriend being just 26-years old and him being 50. Progress, right?

 

These references are woven into the spells made by three witches, inspired by Shakespeare’s Macbeth. Taking the form of the classic play's adaptation of Greek Mythology's three fates, which often portray oracles. The most common presentation of this Greek mythology in pop culture would be the three fates in Disney's Hercules! These three witches use their magic and prophesying to get whatever they please into their witchy fingers!

 

See how many references you can find, and after the show, look up the DiCaprio memes—and that graph—for even more laughs!

 

—  Audree Wells & Nia Hughes, Dramaturgs

Soup for Thought

by
Kimberly Yee

Director

Dramaturg

Queenie

Charlie

Joe

Stage Directions

Kimberly Yee

Kelsie A. Ramos

Rita Cao

May Zeng

Michael Medina

Sherrie Sanders

Dramaturg Note

Every word you will hear is intentional, it is said exactly as it is meant to be. In Chinese culture, feeding the ones you hold dear is the biggest act of love one could perform. This is how playwright and director Kimberly Yee brings us into the world of her play Soup For Thought. The Mt. San Antonio College Playwright hopes you eat up what she is serving: a bowl of hot, steaming, savory soup, warming your heart on the coldest days and fueling your passion on the hottest. Yee wants us to lift it to your mouth, breathe it in, slurp it down, as she asks us "what is it telling you? If you listen closely, can you hear its deepest darkest secrets? Will you embrace it or simply throw it out?" Yee's play explores a moment where one of the biggest acts of love turns into one of the hardest moments of their life where a mother and daughter test the limits of unconditional love as they grapple with shame, guilt, and unspoken hope. As the Chinese proverb goes, “With love, water is enough. Without love, food doesn’t satisfy”. This is the best case of the worst-case scenario. Let your heart and soul guide you as get a taste of Soup for Thought.

有情飲水飽,無情食飯飢/有情饮水饱,无情食饭饥 (Yǒuqíng yǐnshuǐ bǎo, wúqíng shífàn jī) With love, water is enough. Without love, food doesn’t satisfy.

 

— Kelsie A. Ramos, Dramaturg

Down in the Deep

by
Sara Nehring

Director

Dramaturg

William

Kai

Narrator

Paul Flores

Sophie David

Joseff Pentico

Jack Rodewald

Zawadi Nganga

Dramaturg Note

Set in an imploding submarine, Down in the Deep by Sara Nehring explores what we are willing to sacrifice for the people we love. Nehring set this play off the shores of Hawai’i, where two surfer friends, Kai and William, are suddenly trapped underwater. She wanted to pay homage to the beautiful place she called home for a few years and honor its culture through the use of pidgin. Hawaiian pidgin is a language that emerged from the era of slave plantations, where nationalities and native tongues mixed with the importation of laborers. Pidgin was birthed out of necessity between people who had no other means of communication and has flourished as a rich linguistic tradition that thrives today. 

 

Both Kai and William are transplants to Hawai’i; while pidgin is not native to them, they have adopted it as their own. They throw around “haole,” a derogatory word describing non-Native and white people, to poke fun at each other, and reflect the importance of pidgin to their modes of expression. This was an incredible opportunity to learn some Hawaiian pidgin alongside the team, and I am grateful to Nehring and the cast for embracing this essential part of our story.

 

— Sophie David, Dramaturg

I HAVE NO CONFIDENCE ANY OF THIS WILL WORK

by
Phanésia Pharel

Director

Dramaturg

Della

Dannel

Stage Directions

Paul Galaviz

Karlie Guilliot

Izzy Dasilva

James Myers

Destiny De La Cruz

Dramaturg Note

**Trigger Warning: Descriptions of Sexual Assault**  

 

Navigating high school is hard, and high school relationships are almost impossible. I HAVE NO CONFIDENCE ANY OF THIS WILL WORK by Phanesia Pharel from UC San Diego and takes one of the most complex parts of adolescent life, and throws it onto the stage.  Home economics classes began in Boston in 1879, and by 1920 these courses were rampant for women across the United States, meant to teach childcare, cooking and homemaking to young girls. In a modern era, the home economics classroom becomes a personal battlefield for our teen characters. This play places stories from our adolescence into the spotlight, stories that haunt us into adulthood, answering the age old question of can we ever outrun our past? A robotic baby weaves together a relationship for two budding personalities, and the two are irrevocably intertwined. Conversations surrounding sex, assault, and personal autonomy drive the text of this play into a true tragedy and cautionary tale.

-Karlie Guilliot, Dramaturg

Her. - Or a Redux of Transgender Anxiety in the Modern World

by
Jaden Quinn

Director

Dramaturg

Dramaturg

E

Ensemble 1

Ensemble 2

Ensemble 3

Ensemble 4

Ensemble 5

Ensemble 6

Narrator

Rosa Navarrete

Tristan Martin

Ransom Allen

Zelda Castillo

Zach Dart

Daniel Sharkey

Ziare Rene

Jocelyn Torres

Jose Hernandez

Daisy Kaur

Rylan Love

Dramaturg Note

The deaths of transgender people in the United States have been rising over the past several years, especially due to chaotic shifts in the political climate, according to The Guardian. As of November 2024, the Human Rights Campaign report on violence against transgender individuals, nearly 78% of fatal attacks victimized transgender women. It should be noted that these are only the reports filed on behalf of openly transgender victims; anxiety in day to day life inhibits feelings of safety and belonging, which can skew such statistics.  While social media is capable of spreading awareness of events like these, it is overwhelming to see constant reminders of that violence directed at people like yourself.  Social media also plays a role in amplifying hateful voices that latch on to these events to spread pain and hurt.  Playwright Jaden Quinn’s play is inspired by a panic attack she had on February 13, 2023, two years to the day before this performance.  Her. explores the emotional effects of transphobia, the role of social media, and mental health in the wake of publicized violence.  It is a verbalization of all the emotions that take over and cannot be put to words in the midst of a panic attack.

 

— Tristan Martin & Ransom Allen, Dramaturgs

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