The Killing Jar by Jennifer Lynne Roberts
1962. It’s the cusp of the feminist art movement, the midst of the Cold War and a new Philippines Independence Day. Against this complicated backdrop is the story of the emergence of a young, female artist. Ava Bartim, an American painter and curator, arrives in the Philippines on the hottest day of the year to convince the American expatriate artist, Jefford Huso, to exhibit at the 1964 New York World’s Fair. As an admirer of his work, she is also hoping for an apprenticeship during her time at his studio outside Manila. Ava struggles to understand herself as an artist and a woman while trying to negotiate her place in the world. She soon discovers that her desire for a mentor and Jefford’s addiction to alcohol and women, jeopardize the show and Ava’s career, which hinges on this rare opportunity in a male dominated field.
Spare Stage is helping Jennifer develop the play through a series of workshop rehearsals, with an eye toward producing the play in full.
directed by Laylah Muran de Assereto
translator and cultural advisor Marnelle Marisgan
dramaturg Amanda J Lee
workshop actors Madison Worthington, Brian Levi, Krystle Piamonte, Ely Sonny Orquiza, and Ted V. Bigornia