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Keith doesn’t need a roommate, but wants one. He wants a female roommate. Pen needs a place to live – and a lot more. bled for the household truth is a play about intimacy and yearning, and what happens when the world we live in, and the experiences we have, make simple human interactions the most intolerable and painful acts we could ever imagine. “I haven’t read a play like this…ever. It intrigued me, fascinated me, and shattered my heart. There is muscularity to Ruth’s writing, a lean economy, that is taut and direct and at the same time as fragile as tissue paper. I knew I had to direct this play, because it gripped me…and just wouldn’t let go” – Cameron Watson; Director Ruth Fowler first garnered media attention after writing several articles for The Village Voice as “Mimi,” the stripper. A British born writer, now living in Los Angeles, her noted projects include an adaptation of Helen DeWitt’s novel, The Last Samurai, for producer Tony Gantz. Ruth’s screenplay for Fly Me (Official Finalist – 2014 Colorado Film Festival) secured her place as one of Screen International’s “Stars of Tomorrow” alongside previous winners Emily Blunt, Carey Mulligan, Robert Pattison, and Andrew Garfield. Penguin published Ruth’s first book, “No Man’s Land.” Director Cameron Watson recently helmed the world premiere of Sharr White’s Stupid Kid at The Road Theatre and the revival of Tennessee Williams’ Cat on a Hot Tin Roof at Antaeus Theatre Company, where he also directed the productions of Picnic and the revival of Caryl Churchill’s Top Girls (“TOP TEN Stage Productions of 2014″ – Charles McNulty). Heralded by the Los Angeles Times as “one of our finest contemporary directors,” Cameron’s independent feature film, Our Very Own, was bought and distributed by Miramax Films and stars Allison Janney, Jason Ritter, Cheryl Hines, Mary Badham, Autumn Reeser, Hilarie Burton, Faith Prince, Beth Grant and Keith Carradine. Ms. Janney received an Independent Spirit Award nomination for her work in the film. Additional directing credits include the west coast premiere of Mike Bartlett’s Cock at Rogue Machine Theatre, which won the Ovation Award for Rebecca Mozo and the LA Drama Critics’ Circle Award for Patrick Stafford and Best Ensemble; The Savannah Disputation, which was nominated for five Ovation Awards and won the Best Ensemble Award from the Los Angeles Drama Critics’ Circle. Watson’s groundbreaking, multi-racial production of All My Sons, produced by Joe Stern at The Matrix Theatre Company, received the Los Angeles Drama Critics’ Circle Award for Best Actress (Anne Gee Byrd) as well as four 2012 NAACP Award nominations including Best Director, and a win for Best Ensemble. “bled for the household truth doesn’t settle for easy answers or simple categories. We’re confronted with hard questions that ask us to look through the pain, to something deeper. This play is raw, disturbing, and one of the most original works that we’ve ever produced at Rogue Machine. It breaks your heart and, in the breaking, reveals how ugly and how beautiful we are” – John Perrin Flynn; Artistic Director/Producer Cast: Benjamin Burdick, Rachel Brunner, Alexandra Hellquist, and Nathaniel Meek Rogue Machine Theatre, nominated for 12 Ovation Awards in 2017 including Best Season and two for Best Production, recently received the Polly Warfield Award for Outstanding Season from the LA Drama Critics Circle as the only theatre company to be given this award twice in the past sixteen years. KCRW (Best Theatre 2016) was another highlight of last season as well as receiving a Shubert Foundation grant, awarded to select theatre organizations for their artistic achievement, administrative strength, and fiscal stability along with company’s development of new work and other significant contributions to the field of professional theatre in the United States. A recipient of the American Theatre Wing’s 2014 National Theatre Company Grant, given only to 12 theatre companies in the country, Rogue Machine (BEST PRODUCTION for three years – Ovation, LADCC Awards) presents plays that are new to Los Angeles, and the company has garnered recognition for their work in upwards of 75 awards and nominations.


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"Despite the best efforts of all involved, the play seems to stagnate in a mire of misery which is self-sustaining."

"I applaud Rogue Machine for constantly taking artistic chances and producing plays which push the envelope. Unfortunately, I don’t think bled for the household truth effectively accomplishes these goals."

"If rape, masturbation, something to do with the scent of previously worn panties, masturbation, again... and fondling of an unconscious woman are stepping stones to 'love,' then "bled for the household truth" has a long way to go for any kind of honesty, though the effort may be appreciated."

"Those likely to get their knickers in a twist over bled for the household truth’s more shocking elements would probably do better seeking out G-rated fare this holiday season. The open-minded and open-hearted, on the other hand, can expect to find themselves riveted to the edges of their seats and moved to tears. I for one was both."

"Cameron Watson directs with his characteristic attention to emotional truth, and he’s particularly deft at staging the scenes in which Pen and Keith come close to connecting. The script, though, is so doggedly committed to its bleak view of human relationships that it requires him to cover the same emotional territory in every scene."

"Watching it made me laugh out loud, squirm in fascinated horror, almost weep, certainly look away (but always look back), catch my throat in moments of intense deja vu. That last seems especially important because in most ways my life resembles theirs even less than do each others'. In terms of detail, anyway."


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