Something Wicked This Way Comes

Macbeth_with_dates2_2_cbc59bb0fbGet ready San Angelo. This June Be Theatre’s Shakespeare on the Concho is bringing you Macbeth like you’ve never seen it before—Sons of Anarchy style. Shakespeare set with outlaw biker gangs.  So the story goes…

Macbeth rescues King Duncan during a violent rebellion.  After the battle, Three Weird Sisters appear and tell Macbeth he will be king. Duncan comes to stay at Macbeth’s home where he is assassinated, and Macbeth becomes King. Fearing his friend Banquo is a rival, Macbeth has him killed. But when Banquo’s ghost haunts Macbeth, he seeks out the sisters for counsel. Macduff, and Duncan’s son Malcolm, lead a rebel army against Macbeth while Lady Macbeth goes mad and commits suicide. Macduff kills Macbeth and Malcolm becomes King. Join us for our 5th annual Shakespeare on the Concho in this modern, twisted version of the Shakespearean classic!



Macbeth Auditions – April 17

Shakespeare on the Concho returns again for its 5th year with Macbeth. Auditions are coming up. Details below.

Runs June 8-16 at the San Angelo Museum of Fine Arts
Directed by Stoddard Owens

Be Theatre, 82 Gillis Street
(Enter through 2nd Street Classroom entrance. There is a “B” on the door)

The roles of Macbeth, Lady Macbeth, Macduff have been selected.  All other roles are open for audtions.
Actors/actresses ages 12*+
(a few roles are available for younger actors)
No preparation needed for auditons

Lady Macduff
The Three Witches
King Duncan
Macolm (Duncan’s son)
Seyton (Attendant to Macbeth)
Two Murderers working for Macbeth
Porter (Comedic relief of the show)
Fleance (Banquo’s son)
Macduff’s son
Scottish Nobels: Lennox, Ross, Angus, Menteith, Caithness
Siward (Commander of English forces)
Siward’s son
Wounded Sergeant

Shakespeare on the Concho looking to expand to third weekend

SOC LogoNothing is final yet, but Shakespeare on the Concho is looking at options to expand its performances to a third weekend. But this third weekend would not be simply adding performances at the Art Museum. Instead we will take the show on the road. Locations are yet undetermined but talks are taking place with the communities in Mertzon, Ballinger, Eden and possibly Christoval. The show in 2018 is Macbeth, directed by Stoddard Owens. Check back here for more details.

KCATCF STATE Festival at Angelo State This Week

Angelo State University will host the 2017 Kennedy Center American College Theater Festival’s (KCACTF) Texas State Festival on Oct. 26-29 in the ASU Auditorium located inside the Mayer Administration Building, 2601 W. Ave. N.

Over 150 theatre students, faculty and staff and invited guests will attend from colleges and universities throughout Texas. The festival will include full-length presentations of six plays. Admission for each play will be $10 at the door, with the following schedule:

Thursday, Oct. 26

10 a.m. – “Not About Nightingales” by Tennessee Williams – Angelo State University

8 p.m. – “4:48 Psychosis” by Sarah Kane – North Central Texas College

Friday, Oct. 27

11 a.m. – “The Nether” by Jennifer Haley – Texas A&M-Kingsville

8 p.m. – “Flyer” by Kate Aspengren – Panola College

Saturday, Oct. 28

11 a.m. – “Waiting for Godot” by Samuel Beckett – Richland College

8 p.m. – “The Typists” by Corey Ranson – Texas A&M-Kingsville

Each production is competing to be named a Respondents’ Choice for a chance to be invited to the 2018 KCACTF Region 6 Festival, which will be hosted for the fourth straight year by ASU Feb. 28–March 3. Region 6 includes college theatre programs at schools in Texas, Arkansas, Louisiana, New Mexico and Oklahoma. Respondents for the 2017 Texas State Festival are Tom Miller from the Actors Equity Association and Tom Burch, assistant professor of scenic design at the University of North Carolina-Charlotte.

Started in 1969, the Kennedy Center American College Theater Festival includes more than 600 academic institutions nationwide participating in eight regional festivals. More details are available online at

For More Information

Mike Burnett, Assistant Director of University Theater

KCACTF Region 6 Vice Chair


Shakespeare is not just important, it’s urgent!

“If we get addicted to only having frictionless encounters with carefully selected people we are retreating from the reality of life and retreating also from the world of discussion, the world of politics.” – Declan Donellan

Photo by Johan Person Cheek by Jowl's Produciton of Measure for Measure
Cheek by Jowl’s Measure for Measure Photo by Johan Person

Theatre has many functions. One of those is to make us uncomfortable, to expose So yesterday we went to Jade Baucom’s wedding. As we entered through the red doors I noticed the three tall arch features on the wall directly in front. I thought to myself. “That would be an awesome place for a triptych icon” #baptodoxprobsus to people and ways of seeing the world that are not our own. In this excellent article in Time Out, Matthew Clayfield discusses this aspect of theatre with UK Director Declan Donnellan. Donnellan is in the middle of a Russian language production of Measure for Measure.

Why putting Shakespeare on stage is not just important, it’s urgent!

To Donnellan, art and theatre are crucial to politics. In his view politics is not politicians, campaigns and elections. It is much broader than that. It is the discussion of ideas and different points of view in the public forum. We tend to seek out people who think and act like us. “If we get addicted to only  having frictionless encounters with carefully selected people we are retreating from the reality of life and retreating also from the world of discussion, the world of politics.”

“In theatre we see people who are not the same as us, feeling things that are not necessarily what we feel, doing things that we probably would not do. And yet we connect. We connect in empathy. Theatre teaches us, helps us live in a world of difference.”

“All of Shakespeare’s plays,” he goes on, ” help us to be with people who are not necessarily like us. I cannot imagine anything more politically useful as this present moment.”

What he says is that what Shakespeare creates is an illusion. We know it is an illusion. The audience knows it is as well. What we as producers, directors and actors ask the audience to do is to investigate that illusion, that lie, with us and to see things from a different perspective.