The Echo Reads series will return in 2021. Spring Season of three plays will be Zoomed April - June.
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Echo Reads is a Free Theater Experience. Directors lightly rehearse readings of plays with professional actors who carry their scripts as they perform for the audience. After the show, the audience is invited to stay and discuss the play with the Actors, Director, and Echo Creatives in a casual, welcoming setting. Venues all over Dallas!
Everyone is invited!
funded, in part, by:
Play graphics by Kelly Garrett.
Twelve staged readings of Six plays written by multi-cultural women.
Each play is presented live, two times on Zoom.
No Reservations. Free Admission. Donations happily accepted.
Venues have free, lighted parking. ADA Compliant.
Duration will vary based on script length and audience discussion.
- Echo Reads is intended for mature audiences. Viewer discretion advised. -
2021 Echo Reads Schedule will include:
THE GREAT LONELY ROAMER & THE NIGHT THAT CHANGED EVERYTHING by Christina Quintana
directed by Jane Farris
Only two polar bears are left on the planet. On New Year’s Eve, one bear searches suburban Texas for a new, air-conditioned home, while his sister attempts to track him down in New York City. A gun-toting trucker tries to race his pregnant wife to the hospital. A first date laced with supercharged marijuana takes a turn at a police stop. A wild night ensues that will affect the future of an entire species. Christina Quintana (AKA: CQ) is a queer, cross-genre writer with Cuban and Louisiana roots.
THERE IS EVIL IN THIS HOUSE by
Natalie Nicole Dressel
directed by David Fisher
This play was written as a biography by Natalie Nicole Dressel, an actress/playwright from Muskegon, Michigan. The coming of age story follows a trans-woman as she unwinds the many twisted threads of her life: her mother is manic, her new step-dad is a con-man, and the ghost of her dead father won’t stop re-arranging the furniture. The play weaves therapy, horror, Hamlet, and late-night talk shows together into a meta-theatrical examination of Penny’s continually evolving relationship with her mother and how the past can—quite literally—haunt you.
Eugene O'Neill National Playwright Conference, Finalist (2019)