Bas Bleu Readers’ Theatre is a powerful and imaginative way to experience theatre. Instead of the usual sets and costumes you see in a play or musical, Readers’ Theatre actors read aloud a script or literature adaptation using voice, facial expressions and gestures.  The audiences then bring the piece alive in their own imaginations. As with reading a book, they experience the story in their mind’s eye in their own unique way.

Readers’ Theatre Background

Bas Bleu Readers’ Theatre, under co-directors Jonathan and Deb Farwell, has earned enthusiastic response from a loyal audience since Jonathan started it in 2006. It presents five plays per season for three performances only, doubling the total number of plays available to our audience, and incorporating a range of plays which might be risky for full production, including new works by national playwrights, often with an emphasis on dark comedy and current issues.

Readers’ Theatre also provides a forum for actors and directors who may not have time to commit to long rehearsals and performance runs, since the time commitment for participants is relatively small. The play is READ to the audience by actors with scripts in hand, with relatively little stage movement or production values, but with enough rehearsals (usually about five) to arrive at good performance levels in their reading. Often, a narrator is used to provide information the audience needs to follow the action.

Auditions for each production are held by the individual director, and once the cast is selected, rehearsals are scheduled to suit the availability of the cast. Actors of all levels of experience are encouraged to audition, and our casts – and directors – seem to love the creativity of the experience. Jonathan likes to call the performances “radio drama with close-ups.” Audiences often tell us they love “seeing the whole play” in their imaginations.

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Daniel Blue

October 9, 10 & 15 only — A thrilling narrative of the adventures, sufferings and starvation of Pike’s Peak gold seekers on the plains of the West in the winter and spring of 1859 by one of the survivors.

This little-known true narrative of survival rivals anything created for the stage or screen. Colorado’s gold fields lured many unprepared adventurers to walk the Smoky Hill Trail from Leavenworth, Kansas to Pike’s Peak in merciless late winter storms. Three brothers made a pact they prayed they wouldn’t have to keep.

Bakersfield Mist

December 11, 12 & 17 only — What is art? What is authenticity? So begins the prickly pas de deux between a boozy, unemployed, “trailer trash” bartender and a world-class art expert, a self-proclaimed fakebuster. And the subject of their hilarious battle of wits: the possible discovery of a “lost” Jackson Pollock worth millions. Warning: contains adult language.


February 19, 20 & 25 only — At the height of a foreclosure crisis, a single mother loses more than her home. She struggles to stay positive in questionable situations, but optimism is no match for a bad economy. This is a darkly comic thriller that explores just how far we will go to get back what is ours.

The Man Who Shot Liberty Valance

April 9, 10 & 15 only — There’s the law and then, there’s the gun. Was it justice or murder? When legend is bigger than truth, print the legend. This is not the screenplay, but a newly conceived playscript by a British writer who as a boy spent “his days and nights dreaming of the great American West”.

Uncanny Valley

June 4, 5 & 10 only — This is definitely a play for the twenty-first century, as it explores the unsettling divide between the creator and the creation, between Claire, a neuroscientist, and Julian, the nonbiological human she has been assigned to program. Surprising reversals occur as their relationship evolves, ultimately in search of the pivotal moment when artificial intelligence becomes sentient.