Scene from The Long Christmas Ride Home

Set & Media Design: Rachel Atkinson

Costume Design: Kerry Bechtel

Lighting Design: Channing Schreyer

Puppet Design: Bert Keefer

Photo credit: Jamie Rogers

“For an American Dramatist, all roads lead back to Thornton Wilder”- Paula Vogel, Forward, The Skin of our Teeth

Paula Vogel’s brother Carl died of AIDS in 1988. And she remains her brother’s keeper. Carl was the writer and cultural intellect of the family and she looked up to him dearly. Vogel talks often about Carl being a major inspiration in many of her plays and, within that work, Carl has found a piece of immortality. One of her earlier most notable stage works depicts this relationship. The Baltimore Waltz is about an imaginary trip through Europe, a trip the siblings had planned to do in real life before their time together was cut short. However in the play, it is Ana, the sister, who has been infected and not her brother. In short, the play’s events of a trip throughout Europe are all part of Ana’s fever dream taking part in a drab Baltimore hospital. And the audience then realizes it is the character of her brother, Carl, that is dying and not her. She is both surrogate and witness. And there is the feeling in that play of attempting to change the ending or wanting to redo something that cannot be redone.

Vogel set out writing this play as a tribute to Thornton Wilder’s work and the importance of his contributions to theater, of which she draws inspiration. She looked specifically at 3 early one act plays where Wilder was attempting something new and apart from American Realism. By drawing inspiration from Japanese theatrical techniques, such as the use of narrators with third person storytelling, presentational rather than representational setting, and the use of the “perpetual present”, Wilder wrote The Long Christmas Dinner, The Happy Journey from Trenton, and the Pullman Car Hiawatha.

The Long Christmas Ride Home fuses Carl Vogel’s passion for Japanese culture with Thornton Wilder’s inspiration from Japanese Noh theater. And in this fusion, Paula Vogel creates her own personal familial “ghost” story as tribute to them both.

The play is a continuation in Vogel’s exploration of experimental techniques, combining Wilder’s presentational theatrical style, and his frequent exploration of the micro vs. macro, with Japanese Bunraku puppet theater techniques (of which Vogel reminds theater artists is “one Westerner’s misunderstanding of Bunraku. The misunderstanding is key”)

In this play, it is the puppet children that serve as both surrogate and witness.

The play itself details a family’s journey to their grandparents house on Christmas Day. And what should be a day of celebration and togetherness, slowly becomes THE day where the ties that bind the family together fray and, ultimately, sever.. When one realizes that one has lost the love and support one thought you had from the family unit, the security one felt in the micro details of your everyday life are gone . And in that loss, you seem to drift untethered in the macro. And again, the painful realization that “what is done, cannot be undone”, even in death.

“Sometimes using the distance and perspective of a far-off land, of another people, we can return and see our home more clearly.” Minister from The Long Christmas Ride Home

Jamie Rogers

Director

poster design by dreux carpenter

The Austin Community College Drama Department is happy to announce our production of The Long Christmas Ride Home by Paula Vogel!

February 21st - March 2nd, 2025

Friday & Saturday 7:30 PM

Sunday 2:00 PM

ASL Interpreting Students at the February 28th-March 2nd performances.

For Mature Audiences Only. Adult Themes and Adult Situations. Not advisable for children.

“One snowy Christmas Eve three children and their parents take an ill-fated ride to their grandparent’s house. In The Long Christmas Ride Home, past and present collide in the back of the family sedan. The play offers brief, illuminating glimpses of the children's future lives, but always comes back to that one fateful night, the claustrophobic car, and the moment a family shattered. Combining superb storytelling, music and puppetry The Long Christmas Ride Home explores the fragile and fraying bonds of family.”



Tickets on sale now! 

All ticket sales go directly to ACC Drama & Dance Scholarship fund.

General Seating: $8.00

THE LONG CHRISTMAS RIDE HOME TICKETS!!!

AA STUDENT SPOTLIGHT:

ETHAN WADE

Interview by Jamie Rogers

Where are you from? 

I’m from Austin Texas, I’ve lived briefly in other states but I was born here, lived most of my life here and plan to stay here in Austin. The city has grown so much since I was a kid but I really can’t imagine living anywhere else!

Were you involved in theatre when you were in high school? Any past theatre experience on stage or behind the scenes?



I first started acting at the end of junior year of high school and I quickly realized I loved something about the process. The next year as a senior I took part in eight different shows at Vandegrift high school. From musical comedies to very dark and dramatic, I did every show I could.

What were the reasons you decided to enroll at Austin Community College? 

I enrolled at ACC because I wasn’t sure if theatre was a calling I could truly follow, I wanted a school that would give me the opportunity to check out different fields without the worry of life changing debt. I talked with friends who graduated before me and they suggested ACC. So I enrolled as a theatre student and started exploring. I can’t recommend going enough. It changed my life for the better.

Any favorite classes in the Drama Department and why? Important things you have learned so far?

Acting I and Acting II are by far the most fun I’ve had in a classroom. The process of exploring scenes, characters and language is what I love about theatre. If you get the chance, take one of these classes with Jamie Rogers and the other with Marcus McQuirter. Both of these professors give great advice and guidance but in different ways. Learning to work with different directors is possibly the most important skill to get out of the classes. Additionally theatre practicum will open doors you didn’t think you could go through. You really can’t miss out on any of them in my opinion. 

You are currently cast in our spring 2025 production of The Long Christmas Ride Home. Can you tell us a bit about the character you play? And what the rehearsal/performance process was like?

In The Long Christmas Ride Home, I play Stephen both as a child and as an adult. When we are children I act through a life size puppet( about four feet tall) and as an adult I act through myself. Don’t let the name of the show fool you, this is a sad show and Stephen is at the heart of this sadness. As a child he is scared and confused by his feelings of love and the lack thereof. As an adult he has come to terms with his feelings but still struggles to find love. It's been a challenge to bring Stephen to life in both puppet and body. The character is based on Carl Vogel, the deceased brother of Paula Vogel, the playwright. When exploring scenes with the character I had to keep Carl in mind, I am portraying a real person and scenes require the respect that we give to the deceased. 

Ethan Wade as Stephen in rehearsal for The Long Christmas Ride Home

Set Design: Rachel Atkinson

Lighting Design: Channing Schreyer

photo credit: Jamie Rogers

Do you attend school and have outside employment? If so, how do you find a balance between work and drama department involvement?

I do work, I have a full time job at a sports rental facility. I work forty hours a week so balancing it with school and play practice isn’t easy. It’s not easy but you can do it, juggling schedules is a life skill we all learn eventually. I balance my week by dividing days for the three versions of myself. My work self, my theatre self, and myself. You need to make time for each you that you are. If you work too much, sign on to too many shows, or spend too much time at home as yourself, you’ll become entirely one aspect of yourself. I guess to simplify it, you need to keep time to yourself as a part of your week.

Any overall advice to give to current Drama Majors on ways to get them involved in the Department?

Auditions! They are gut wrenching and not knowing if you got cast can be worse than knowing you didn’t. But you miss every shot you don’t take. When I auditioned for the “Long Christmas Ride Home” and I sat in the black box I realized two things: 1. I’m the tallest guy here, 2. I'm the youngest guy here. I thought “How could I play a child if I'm taller than dad and how could I play dad if I’m younger than my son?” but directors only have an idea of what they want until they see it. You just gotta get out there face some scary auditions! Even then if you don’t make it, I’ve learned so much more about acting by watching other people's auditions compared to just reading a script.

What does the future hold?

Well I have six performances of Stephen in the near future and I’d appreciate it if any readers came to support us. As for after that I do sound design for Broad Theatre, look out for our upcoming show “unbury your gays” at Hyde Park Theatre. You might also see me as a background extra on PBS in “How Are We Doing Today”

AAS TECHNICAL THEATER STUDENT SPOTLIGHT:

KAELA WILLIAMS

Interview by Jamie Rogers

Where are you from?

I am from Pflugerville, Texas

Were you involved in theatre when you were in high school? Any past theatre experience on stage or behind the scenes? 

I was very involved in theatre in high school. I have experience doing both tech and performing. I was even the Vice President of our theatre program.

Some technical roles I've had include: Costume crew for Freaky Friday, Hair and makeup designer and crew for The Drowsy Chaperone, Costume designer and crew for the Miraculous Journey of Edward Tulane, Sound crew for The 25th Annual Putnam County Spelling Bee, and Scenic Painter for Footloose. 



Some acting roles I've had include: Tuesday as an Alternate, Mutually Assured Destruction as Jessica, This is What I Chose No I'm Not Sorry And Yes If You Asked I’d Do It Again as Rae, Lunacy! as Dolores, A Monster Calls as Miss Godfrey, Mamma Mia! as Ali, Footloose as Ethel McCormack, and Marisol as June.

Why did you decide to pursue a career in Technical Theater?

 I've always loved creating whether that's with my voice and body or with physical materials. Any time I read a show I can already see the technical elements, I'm already thinking of how to create. Technical theatre specifically allows me to take things from my mind and put it out for all to see.

Can you tell us a bit about your role as Hair & Makeups Designer for our upcoming ACC Drama production of The Long Christmas Ride Home?

As Hair and Makeup Designer, I designed each character's makeup and hair, including when actors change from one character to another. I also styled wigs for puppets and actors which included cutting, styling, and fitting for each actor. I also had to think of logistics of how a wig was going to fit, if we had time for a quick makeup change, how to keep actors' hair out of their face, and how to make designs easy enough for actors to complete on their own.

Cast Members of The Long Christmas Ride Home

Photo by Channing Schreyer

What were the reasons you decided to enroll in the AAS Degree program at Austin Community College?  

I wasn't originally planning to go to college but I applied and received free tuition, which made me want to go and see what college was like. Then I fell in love with it and the people I was surrounded by.

Any favorite classes in the Drama Department and why? Important things you have learned so far? 

Intro to Collaborative Design! It helps students gain friendships and connections while allowing them to dip their toes in multiple technical fields. 

Also, Technical Production II, it gives students the chance to actually be a part of a show and see what it is like to be a designer.

Do you attend school and have outside employment? If so, how do you find a balance between work and drama department involvement? 

I do. I'm a full time student who was lucky enough to find a part time job that works around my schedule.

Any overall advice to give to current Drama Majors on ways to get them involved in the Department? 

Make friends and have fun with what you're working on, always ask to be apart of shows, and allow yourself to take your time, only you get to live with the life you lead.

What does the future hold?

Once I graduate, I want a full time position at a theatre where I either design or help with creating shows.

Ordinary Days at PENFOLD THEATRE COMPANY

Music & Lyrics by Adam Gwon

Directed by Gabriel Peña

Feb. 7-Mar. 1, 2025

Penfold Theatre

2120 N. Mays St. #290, Round Rock, TX 78664

Tickets: $19-$39

Ages 14+

penfoldtheatre.org

Penfold Theatre Company presents Ordinary Days, a musical about finding fulfillment and rediscovering love in the city that never sleeps. 

Ordinary Days is a small cast chamber musical with an outstanding score by Drama Desk Award-nominated composer and lyricist Adam Gwon. It's a refreshingly frank, funny show about forging real connections in a city of 8.3 million people.

More info: https://www.penfoldtheatre.org/event/ordinary-days/2025-03-01/