Play by Play

An inside look at Dorset Theatre Festival’s past productions and promising upcoming season 

STORY BY BENJAMIN LERNER 

PHOTOGRAPHY COURTESY DTF

In the heart of Southern Vermont, the Dorset Theatre Festival (DTF) is continuing to thrive as a dynamic incubator of groundbreaking theatrical works. Known as a magnet for acclaimed actors, directors, and playwrights, Dorset has also earned a reputation as a crucial launching pad for innovative productions destined for Broadway and Off-Broadway success.

Over recent years, DTF has served as the origin point for productions that later captivated audiences at esteemed New York venues, such as Primary Stages, Roundabout Theatre Company, and Colt Coeur, among others. This is exemplified by several of longtime Dorset collaborator and lauded playwright Theresa Rebeck’s plays, including Downstairs (2017), which starred renowned actors Tim and Tyne Daly. It premiered at Dorset before transferring to an acclaimed Off-Broadway run at Primary Stages’ Cherry Lane Theatre. Rebeck’s Dig (2019) another Dorset original, earned notable critical accolades in its Off-Broadway debut at Primary Stages, becoming a New York Times Critics’ Pick. Similarly, Rebeck’s I NEED THAT (2022), starring Danny and Lucy DeVito, transitioned from an initial workshop and one-night reading at Dorset to a successful Broadway run at Roundabout Theatre Company. DTF’s nurturing environment also brought Lia Romeo’s poignant drama Still (2023) to life. Directed by Adrienne Campbell-Holt, the moving play featured powerful performances from Tim Daly and Jayne Atkinson. It premiered at Dorset before achieving Off-Broadway success in a production with Colt Coeur. Following that production, a second commercial NYC production of Still starred Mark Moses and Melissa Gilbert.

As the 2025 season approaches, DTF’s Executive Artistic Director, Will Rucker, is looking forward to building on this artistic momentum. He captures the excitement and ambition at the heart of the Festival, remarking: “This season celebrates the Festival’s strength at bringing new stories to our audiences in Southern Vermont and beyond.”

heresa Rebeck at her Vermont home

In the weeks leading up to DTF’s 2025 theatrical season, we spoke with Rucker and DTF’s Managing Creative Director, Ryan Koss, and multiple celebrated theatre artists featured at Dorset Theatre Festival in years past and the upcoming 2025 season. DTF contributors such as Theresa Rebeck, Tim Daly, Lucy DeVito, Adrienne Campbell-Holt, Lia Romeo, and Lena Kaminsky commented on the profound influence Dorset Theatre Festival has had on their artistic journeys. In doing so, they offer compelling “play by play” analysis of the theatrical magic at Dorset Theatre Festival, which has strengthened the theatrical community in Vermont and far beyond through their exceptional dedication to artistic innovation.

Downstairs (2017)

Written by: Theresa Rebeck

Directed by: Adrienne Campbell-Holt

Starring: Tim Daly, Tyne Daly, and John Procaccino 

Theresa Rebeck’s compelling family drama, Downstairs, starring celebrated actors and real-life siblings Tim and Tyne Daly and John Procaccino, premiered at Dorset Theatre Festival in 2017. Initially sparked by a suggestion from the Dalys themselves, Rebeck describes the eventual creation and production of the play as “one of the thrills of my life.” The powerful familial dynamic between Tim and Tyne Daly brought a deeply personal and organic depth to their performances. Rebeck recalls: “The bond between the two of them is very loving and very idiosyncratic,” emphasizing how their genuine sibling chemistry significantly enhanced the emotional authenticity of the production.

Tim Daly and his sister, Tyne Daly, in Downstairs

Director Adrienne Campbell-Holt, a longstanding DTF collaborator, also points to the uniquely supportive atmosphere at Dorset as critical to the successful realization of the play. “That play was born of Tim and Tyne’s desire to do a play together, their trust in Theresa, and their trust in me,” Campbell-Holt explains. “It’s essential on a new play to feel safe when putting it up, especially something as personal as two siblings acting together for the first time. Dorset was incredibly open and nimble around what we needed.” She highlights the Festival’s flexibility and responsiveness, which allowed the team to employ unique rehearsal techniques, facilitating meaningful script development and deep creative exploration.

Tim Daly remembers the experience of performing in Downstairs as exceptionally liberating, noting, “The performance I wound up giving was so wild. It wasn’t what I initially thought it would be, but Theresa and Adrienne gave me the freedom to have artistic adventures.” Daly highlights how the environment at Dorset provided a safe space for genuine creative exploration, free from the pressures typically associated with more commercial productions. “We didn’t know what the results were going to be, so the exploration was really freeing and interesting,” he explains. This openness and freedom were key factors that contributed to the play’s tremendous success in Dorset, prompting Daly and the team to recognize its potential for further impact. “It was hugely successful in Dorset, and we thought, ‘Man, this play deserves to be in New York City,’” Daly fondly recalls.

Will Rucker vividly remembers the rehearsal process as an emotionally rich and artistically joyful experience. “Theresa wrote Downstairs specifically for Tim and Tyne, and watching that come to life at Dorset was extraordinary,” Rucker emphasizes. “The rehearsal room was filled with joy, despite the play’s darkness, because the chemistry was undeniable.” The emotional investment from everyone involved underscored the profound collaborative synergy Dorset has become known for.

Ryan Koss adds further context to the community impact and atmosphere during the production of Downstairs. “Downstairs solidified Dorset’s place as a serious home for new work,” he notes. “Seeing Tim and Tyne Daly fully immersed in the community, interacting warmly with locals, truly exemplified the magic of Dorset.” Koss’s reflection underscores how the community’s involvement and enthusiastic support created an environment that allowed the actors and creative team to fully invest in their craft, enhancing the production’s overall authenticity and appeal. Following its acclaimed premiere at Dorset, Downstairs made a successful transition to a celebrated Off-Broadway run at Primary Stages in New York City, affirming Dorset Theatre Festival’s pivotal role as a nurturing launchpad for powerful new theatrical works destined for broader stages.

Dig (2019)

Written By: Theresa Rebeck

Directed by: Theresa Rebeck

Starring: Jeffrey Bean, Gordon Clapp, Andrea Syglowski, Sarah Ellen Stephens, Greg Keller, David Mason

Theresa Rebeck’s Dig premiered at Dorset Theatre Festival in 2019, uniquely capturing themes intimately tied to rural community experiences. In context with the original production’s Southern Vermont backdrop, Dig offered a narrative deeply rooted in its setting, perfectly suited to Dorset’s intimate and reflective environment. Rebeck praises the exceptional resources at Dorset, particularly highlighting the remarkable production capabilities that brought her vision vividly to life. “You always get something that looks amazing—it’s absolutely remarkable,” she notes, specifically praising the outstanding talent of set designers Christopher and Justin Swader.

The amazing set for DIG by Christopher and Justin Swader

For Rebeck, Dorset’s environment was essential in allowing her to immerse fully in her dual roles as playwright and director, providing critical emotional and intellectual backing. She emphasizes, “There’s tremendous passion for first productions of new plays,” underscoring the Festival’s nurturing atmosphere as instrumental to the artistic integrity and success of the work. This supportive environment enabled her to engage deeply with the play’s complex themes and character dynamics, ultimately elevating the overall artistic quality.

Rebeck attributes the subsequent success of Dig at Primary Stages in New York City, where it earned notable accolades, including becoming a New York Times Critic’s Pick, directly to the foundational development and creative freedom she experienced at Dorset. Will Rucker adds, “Working with Theresa is always exhilarating. Dorset was instrumental in the play’s early development, giving it the necessary space and creative freedom to fully realize its potential.”

I NEED THAT (2022)

Written By: Theresa Rebeck

Directed by: Moritz von Stuelpnagel

Starring: Danny DeVito and Lucy DeVito and Ray Anthony Thomas

Theresa Rebeck’s I NEED THAT marked another significant milestone in Dorset Theatre Festival’s theatrical pipeline, demonstrating the Festival’s invaluable role in shaping high-profile theatrical works bound for major New York stages. Featuring the beloved father-daughter duo, Danny DeVito and Lucy DeVito, this production began its journey with an intimate, yet impactful, workshop and one-night reading at Dorset.

Rebeck recalls the critical early involvement of Danny and Lucy DeVito as foundational to the play’s development, explaining that their collaboration profoundly influenced the play’s direction and depth. “Our first step into the public eye was very much like a family matter,” she recounts warmly, emphasizing the unique community-driven warmth and intimacy that Dorset provided. Rebeck describes Dorset as a “safe place” that offered the necessary privacy and artistic freedom critical during the initial stages of this high-profile project. The enthusiastic audience reception during the reading significantly boosted the team’s confidence, laying the groundwork for the production’s subsequent success. “It was an incredibly supportive atmosphere,” Rebeck explains, “where we felt completely free to explore and shape the play without external pressures.”

Ray Anthony Thomas, Danny DeVito, and Lucy DeVito, at the curtain call of I NEED THAT on Broadway

Lucy DeVito fondly echoes Rebeck’s sentiment, highlighting the idyllic nature of Dorset’s environment and its profound impact on the creative process. “Everyone at Dorset is so welcoming and accommodating,” Lucy recalls. “The theater itself is big, yet cozy, and the charm of Vermont is insane. We were provided with all these wonderful amenities to feel comforted and enthusiastic about trying out different choices and really learning what the play and characters were about.” Lucy further emphasizes the community spirit, noting, “The whole community showed up for the staged reading, so we felt extremely supported. That warmth created the best scenario for creation, enabling us to feel comfortable, take risks, and find the stories we wanted to tell.”

Beyond the theater, Lucy cherishes vivid personal memories of Dorset, underscoring the enriching quality of her experience. “On my time off, I took these lovely walks and found a trail near our house,” she reflects warmly. “The lushness of Vermont was incredible. We went to The Dorset Inn a couple of times, which was one of my favorite places. The food was amazing, and we all went there for a drink after the reading to celebrate. It felt like a vacation – a great escape from Los Angeles. Dorset allowed us the space to breathe and appreciate our surroundings, enhancing our creativity.”

Will Rucker vividly remembers the one-night reading as a transformative moment for both the artists and the Festival itself. “That evening with Danny and Lucy DeVito was extraordinary. There was a palpable sense of excitement and community,” Rucker reflects. “It really highlighted Dorset’s essential role as a creative incubator—this wasn’t just about developing a new play, it was about bringing artists and audiences together in a uniquely supportive space.”

Ryan Koss adds context to the special community energy that surrounded the reading, noting how the event resonated far beyond the walls of the theatre. “Having Danny and Lucy DeVito engage so genuinely with our community added an incredible warmth and authenticity to the experience,” Koss states. “It exemplified how Dorset Theatre Festival can seamlessly blend high-caliber professional artistry with a genuine, grounded community connection.”

The strength of Dorset’s creative ecosystem—fueled by trust, artistic courage, and supportive community interactions—allowed Rebeck and the DeVitos to refine their performances and deepen the play’s emotional impact. “This kind of environment is incredibly rare,” Rebeck emphasizes, “and it gave us the courage and confidence needed to fully explore the characters and narrative.”

Ultimately, this early Dorset experience proved instrumental as I NEED THAT transitioned to Broadway, dazzling audiences at Roundabout Theatre Company. Rucker encapsulates the Festival’s broader role succinctly: “Our goal at Dorset is always to provide artists the resources, freedom, and community backing they need to do their best work. With I NEED THAT, seeing it move successfully to Broadway was incredibly rewarding—it underscored exactly what Dorset Theatre Festival strives to achieve.” Ryan Koss echoes this sentiment, concluding, “It truly was a pivotal moment for everyone involved, reinforcing our belief that when artists are given space and trust, incredible things can happen.”

Jayne Atkinson and Tim Daly in Still

Still (2023)

Written By: Lia Romeo

Directed by: Adrienne Campbell-Holt

Starring: Tim Daly and Jayne Atkinson

Lia Romeo’s acclaimed two-character play, Still, made its debut at Dorset Theatre Festival in 2023, exemplifying the Festival’s role as a nurturing ground for meaningful theatrical explorations. From its initial development to its Off-Broadway success with Colt Coeur, Still vividly demonstrates Dorset’s ability to cultivate powerful storytelling through deep creative collaboration.

Romeo recalls her initial involvement with Dorset as a seamless result of her creative partnership with director Adrienne Campbell-Holt. “Adrienne had directed at Dorset several times and was looking for a project specifically for Tim Daly. She read Still and immediately thought it was a perfect fit,” Romeo explains. Excited by the prospect, Romeo adds, “I was eager to work with them, having heard such wonderful things about Dorset.”

The collaborative environment at Dorset significantly shaped the early stages of Still. Romeo vividly remembers, “From the first read-through in their basement, we knew we had something special. The environment was friendly and collaborative, and the quality was incredibly high yet low-pressure. This combination is ideal for developing new work—you get top-notch talent without constraints or fear of failure.”

Tim Daly was deeply moved by the script’s emotional resonance. “I was floored by this little play the first time I read it,” Daly shares, highlighting the depth and timeliness of Romeo’s writing. “At its essential level, it’s about love—about people who’ve been in love and who have had heartbreak. It was beautiful, clever, funny, and incredibly moving.” Daly further emphasizes the distinctiveness of the play’s themes: “We do plays about young love all the time, but this is about people in their 60s. These are basic human themes, but rarely explored in such a profound and honest way.”

Daly was joined by fellow acclaimed actor Jayne Atkinson, whose partnership with Daly brought significant depth to the production. Romeo credits Daly and Atkinson’s seasoned artistry as vital to her creative process. “Tim and Jayne are total professionals—their craft is impeccable,” Romeo notes. “Because my play deals with characters significantly older than me, their perspectives and lived experiences profoundly influenced the text. Our conversations during rehearsals became integral script changes, adding layers of realism and emotional depth.” Romeo highlights their adaptability as crucial: “Their willingness to continuously learn new pages and script changes right up to opening night elevated the emotional impact of the play significantly.”

Director Adrienne Campbell-Holt recognized Still’s potential immediately. She adds: “Within two hours of reading it, I knew I wanted Tim Daly involved and that it belonged at Dorset … To have a two-character play hold so much emotional depth is exceptional. It’s rare to produce a play written in 2022 and premiere it in 2023—such responsiveness is almost unheard of in theater.” She credits Dorset’s artistic courage and openness as vital factors in the play’s successful transition to its later Off-Broadway run.

Will Rucker highlights the unique energy surrounding the production at Dorset. “Watching Lia, Adrienne, Tim, and Jayne bring this poignant story to life was extraordinary,” he reflects. “The rehearsal process embodied everything Dorset stands for—genuine collaboration, emotional honesty, and artistic courage.”

Ryan Koss adds, “When we read Still, we instantly felt that Adrienne’s vision was perfect for Dorset. Her artistic clarity combined with Tim and Jayne’s talent created something genuinely authentic. It was remarkable seeing how deeply this play resonated with our audience. The atmosphere at Dorset during the run of Still was electric, confirming our belief that the piece was ready to make a significant impact Off-Broadway.”

The serene Vermont setting also notably contributed to Romeo’s creative experience. She recalls: “It’s so beautiful and idyllic—I could wake up, go for a hike, and come refreshed to rehearsal, something impossible in New York. Working away from daily life pressures boosted my creativity.”

Romeo’s experience at Dorset reinforced her belief in the vital role of regional theater. “DTF provided space for the play to breathe and grow, offering a safe yet expansive atmosphere for creative exploration. If we had premiered in New York, the play wouldn’t have had this nurturing experience.” Reflecting deeply, Romeo concludes, “Dorset renewed my faith in theater. It was a rare experience where every element—direction, cast, design—perfectly elevated the text. It reminded me why I create theater and reinforced that regional theater, when done right, is absolutely essential.”

Romeo particularly highlights her productive collaboration with Campbell-Holt, noting, “Adrienne assembled an incredible team and guided every element beautifully. She’s dramaturgically smart, collaborative, and has an all-encompassing vision.”

The 2025 Season!

Building on a strong foundation of artistic passion and creative momentum, Dorset Theatre Festival is poised for another remarkable season in 2025, set to captivate audiences with a diverse slate of plays ranging from heartfelt comedies to gripping, contemporary dramas. This remarkable lineup of plays reflects Dorset’s ongoing commitment to fostering new works, innovative storytelling, and exceptional talent.

The 2025 season at Dorset Theatre Festival opens with the highly-anticipated production of Lena Kaminsky’s comedy SALVAGE (June 20 - July 5, 2025), directed by acclaimed director M. Bevin O’Gara. As Will Rucker articulates, “This play feels like a love letter to small towns like ours, where everybody knows everybody, yet you still find support in unlikely places or unlikely folks. Lena captures the unexpected connections that define small-town life, and it immediately resonated as the perfect season opener. Her first stage direction in the play says it all—’It’s morning, and the dump is beautiful.’”

Set at a small-town transfer station, SALVAGE centers around Carla, who returns home determined to discard an overwhelming collection of mirrors accumulated in her childhood house. Throughout her journey, Carla unexpectedly finds friendships and profound connections, prompting each character to reflect on their past and reconsider their future. Starring Lena’s sister, Eva Kaminsky (Broadway’s Harry Potter and the Cursed Child, television’s Billions and Manifest), alongside acclaimed actress Marcia DeBonis (13 Going on 30 and television’s Orange Is the New Black), the play deftly combines humor and heart to explore deeply relatable themes of community, connection, and self-discovery.

Playwright Lena Kaminsky eagerly anticipates bringing her innovative play to life at Dorset. Her inspiration for SALVAGE stems directly from experiences during the pandemic. “My wife and I moved to upstate New York,” Kaminsky explains. “It was my first exposure to the town transfer station—the dump. During this isolated time, I found unexpected beauty and community there, immediately seeing its potential as a setting for a play.” Kaminsky highlights the symbolic nature of the setting, elaborating, “The dump was a surprising place of organization and human connection. I loved exploring the idea of salvage, literally and figuratively—what we choose to keep, discard, or rediscover emotionally and psychologically.” 

Reflecting on the play’s thematic depth, Kaminsky adds nuance to the characters’ journeys: “The main character arrives intending to discard mirrors from her house. Another character working at the dump insists they’re treasures, underscoring how one person’s trash can become another’s meaningful discovery. It’s about seeing and being seen. The physical act of sorting forces characters to learn what parts of themselves to salvage and what to let go. The characters’ journeys are deeply intertwined with humor, grief, and unexpected connection.” 

Will Rucker further highlights how the setting’s unconventional nature aligns perfectly with Dorset Theatre Festival’s mission: “Lena’s play uses humor and charm to disarm us, then subtly prompts us to explore deeper questions about identity, community, and relationships. The intimate and unique nature of the dump as a shared space resonates perfectly with Dorset’s creative ethos of turning ordinary life into extraordinary art.” 

Ryan Koss emphasizes the alignment of SALVAGE with Dorset’s commitment to fostering new works: “From our first conversation with Lena, it was clear that her approach was deeply collaborative and open-hearted, precisely what we seek in our partnerships. Lena’s multifaceted background as an actor, filmmaker, and playwright uniquely informs her writing, creating authentic dialogue and vibrant character interactions. We’re excited to see how this collaboration evolves, knowing it aligns so perfectly with Dorset’s values.” 

Kaminsky enthusiastically echoes these sentiments, stating, “From early conversations with Will and Ryan, the environment at Dorset has been incredibly supportive and creative. They emphasize community and connection, resonating perfectly with my play’s themes.” She also acknowledges the creative risks involved, welcoming the opportunity for artistic exploration: “Will immediately asked if I was open to script changes. It’s an exciting risk and an opportunity—I’m eager to refine the play collaboratively, with genuine trust and openness.”

Further emphasizing the personal significance of SALVAGE’s production at Dorset, Kaminsky expresses joy about collaborating professionally with her sister, Eva: “Collaborating with my sister is incredibly meaningful. We’ve dreamt of this since childhood basement shows. To bring this dream to life professionally at Dorset is beyond special.”

Ultimately, Kaminsky hopes the audience will leave the theater reflecting deeply: “I want audiences to discuss connection, grief, humor, and letting go. Theater allows personal interpretations, and I’m eager to hear the diverse responses SALVAGE evokes.”

Ryan Koss reinforces Dorset’s broader role, adding, “SALVAGE perfectly embodies our festival’s goal of sparking thoughtful conversations through accessible, impactful storytelling. It captures what Dorset does best: providing a nurturing space where artists feel safe to take risks and audiences feel connected to the stories unfolding on stage.”

Rucker concludes with a thoughtful reflection on Dorset’s community-centric approach: “Our festival is at its best when audiences leave not only entertained but moved, reflecting deeply on their own lives and relationships. SALVAGE promises exactly that—a memorable and meaningful experience that aligns beautifully with our mission to build stronger community bonds through the power of theater.”

Following the season opener, audiences will be treated to Karen Zacarías’ delightful comedy, The Book Club Play (July 11 - July 26, 2025), directed by Dorset Theatre Festival favorite Jackson Gay. Renowned for her sharply humorous and insightful play Native Gardens, which captivated Dorset audiences in 2024, Zacarías’ incredible writing takes center stage once again this season, with another irresistibly witty exploration of human relationships and cultural connections.

The plot of The Book Club Play centers around a tightly knit group of literary enthusiasts whose longstanding camaraderie faces uproarious disruption when their intimate discussions become the subject of a documentary film. The introduction of an unpredictable new member adds further comedic chaos, forcing the characters to hilariously confront their own personal biases, literary tastes, and group dynamics. Zacarías skillfully combines sharp humor with insightful commentary on friendship, culture, and the transformative power of storytelling.

Director Jackson Gay, whose vibrant and critically acclaimed past Dorset productions include Sidekicked (2024), Stephen King’s Misery (2023), Wait Until Dark (2022), and Slow Food (2019)—which notably reunited beloved actors Dan Butler and Peri Gilpin from TV’s Frasier—brings her signature blend of comedic timing, emotional nuance, and dynamic stagecraft to this anticipated production. Gay’s continued collaboration with Dorset Theatre Festival is marked by a deep mutual respect and artistic synergy, as she consistently elevates each production through her meticulous direction and intuitive understanding of ensemble dynamics.

Will Rucker reflects on the continued partnership with Gay, remarking, “Jackson’s consistent ability to draw out both humor and humanity in each script makes her a perfect match for Zacarías’ layered comedic style. We’ve watched her work develop a remarkable rapport with our audiences, who now eagerly anticipate each of her new projects. With The Book Club Play, Jackson’s insightful direction promises another standout production.” Ryan Koss adds further context to the Festival’s dedication to Zacarías’ works: “Karen Zacarías has a unique talent for making us laugh while simultaneously holding up a mirror to the complexities of modern relationships and community dynamics. After the incredible success of Native Gardens, we knew immediately that we wanted to continue exploring her rich catalogue. What makes The Book Club Play particularly special is its universal relatability—everyone has been in a group dynamic that suddenly shifts when a new person enters. The comedic and emotional journey these characters embark on is something our audiences will undoubtedly recognize and appreciate.”

Rucker enthusiastically underscores the alignment of Zacarías’ storytelling with Dorset’s broader artistic vision: “Her insightful narratives combined with Jackson’s intuitive direction ensure a vibrant theatrical experience that speaks directly to our community’s love of literature and storytelling. This production exemplifies Dorset Theatre Festival’s ongoing dedication to fostering lasting artistic relationships and delivering meaningful, entertaining theater.”

Following The Book Club Play, mid-season brings the premiere of the emotionally resonant play SATELLITES (August 6 - 16, 2025), penned by Erin Breznitsky and directed by DTF veteran Adrienne Campbell-Holt. This eagerly anticipated production features a compelling blend of romance, humor, and existential exploration, woven into the gripping story of astronaut Mike and climate scientist Katherine, whose unexpected reunion comes after Mike’s mysterious seven-year disappearance in outer space. The play stars real-life married couple Christopher Lowell (Television’s GLOW, How I Met Your Father, and films such as Up in the Air and Promising Young Woman) and Kerry Bishé (AMC’s Halt and Catch Fire, ABC’s Scrubs, and the film Argo), whose offstage chemistry promises to deepen the authenticity and emotional power of the performance.

Director Adrienne Campbell-Holt articulates her excitement for this newest endeavor: “Within moments of encountering the script, I recognized that SATELLITES was special. It’s rare to find a play that is both epic in its scope and deeply personal at its core. Chris and Kerry will bring real authenticity and emotional nuance to this story. The themes in SATELLITES hold a powerful universality. They explore profound questions about how we grow and change over time, and examine whether it’s truly possible for two people to evolve together through life’s unpredictable twists. These fundamental human questions—of connection, separation, and identity—are made even richer by the circumstances that the characters face. The juxtaposition of intimate human relationships against the isolation of space adds layers of depth that I find very moving.”

Will Rucker elaborates on why Dorset Theatre Festival is the ideal venue for the premiere: “Adrienne immediately saw the potential for SATELLITES to resonate deeply with Dorset’s audiences. The play uses its bold, imaginative premise not merely as spectacle, but as a powerful metaphor for the emotional distances we all navigate in relationships.” Rucker also highlights the festival’s collaborative environment as pivotal in fostering the play’s development: “Adrienne has a consistent ability to guide actors into emotionally daring territory. The complexity of the relationship between Mike and Katherine demands thoughtful and sensitive direction, and she invites actors to deeply explore their characters.”

Campbell-Holt enthusiastically attests to Dorset’s supportive creative environment: “Dorset provides the perfect setting to dive deeply into such complex and emotionally-charged themes. The festival consistently supports artistic risk, which gives us space to create without fear.”

Closing Dorset Theatre Festival’s vibrant 2025 season is Jon Robin Baitz’s powerful contemporary dramatic comedy, Other Desert Cities (August 22 - September 6, 2025), directed by acclaimed theater veteran Robert Egan. The play compellingly dissects family tensions as Brooke Wyeth reveals an explosive memoir poised to unearth deeply buried family secrets. With razor-sharp wit, sophisticated dialogue, and intense emotional depth, the production stars celebrated stage and screen talents Laila Robins, Jayne Atkinson, and Michel Gill, promising audiences a gripping, thought-provoking conclusion to a remarkable season.

Will Rucker highlights the timely relevance and emotional intricacy of the play, emphasizing, “Other Desert Cities is a story about truth, perception, and family dynamics in crisis. It challenges us to reflect deeply on the complexities within our own families, exploring how truths and secrets coexist and collide. With this play, Jon Robin Baitz created characters who feel both familiar and surprising, and Robert Egan’s insightful direction promises to amplify the emotional richness at the play’s heart.”

Ryan Koss and Will Rucker outside the Dorset Playhouse

Rucker continues, “We’re especially excited to have actors of the caliber of Laila Robins, Jayne Atkinson, and Michel Gill bring their incredible depth and nuance to Dorset. Their combined talent is exactly what’s required by Baitz’s intricate writing.” Ryan Koss emphasizes the festival’s intention behind programming this particular piece as the season’s finale: “Choosing Other Desert Cities was very intentional for us. It encapsulates the Festival’s commitment to showcasing narratives that deeply resonate with audiences through both humor and drama. The play’s exploration of family conflict and reconciliation mirrors the tensions between appearances and underlying truths, a dynamic many of us can recognize in our own lives.”

Both Rucker and Koss highlight Jayne Atkinson’s return to Dorset as a significant aspect of the production’s appeal. “Jayne has become an integral part of the Dorset family,” Rucker warmly notes. “Her powerful performances in previous productions have profoundly connected with our audiences.” Koss concludes: “We want audiences leaving the theater deeply moved, reflecting on their own experiences of family, truth, and reconciliation. Other Desert Cities is the kind of play that lingers, prompting meaningful conversations and introspection long after the curtain falls.”