Artwork by Jamie Marshall

A play based on a video game, you ask? Why yes. What else? When
I first heard about this fascinating project I just had to learn
more. So, I contacted the creators and conducted an extensive
interview via the miracles of email, all for you, dear reader.
The play is based on the old King’s Quest adventure games by
Sierra Entertainment and is filled with humor and dark plots
that will please gamers and non-gamers alike. Take some time out
of your gaming and head over to New York City in June for a
theater treat, but until then read this great interview with
three of the creators of Adventure Quest! I would like to give
a special thanks to graphic designer Jaime Marshall for turning
me onto this play.

From the play’s Facebook page:
“The town of Perilton has been invaded by the dreaded Cult of the
Octopus, and our dashing hero is the only one who can save it! Gasp
as he evades bloodthirsty monsters and solves devious puzzles! Cheer
him on as he fights to win the hand of the mayor’s beautiful daughter!
Watch as he meticulously collects inventory items, and then exchanges
them with other characters for new inventory items, which are then used
to solve more puzzles! Shift uncomfortably in your seat as the narrative
becomes increasingly unhinged! Glance around nervously as characters are
brutally murdered for no particular reason! Weep silently as your faith
in a meaningful, ordered universe is irrevocably shaken!”

“Capturing the style and spirit of the Golden Age of home computer gaming,
Adventure Quest is both a nostalgic treat and a glimpse into the yawning
Void.”
www.facebook.com/groups.php#/group.php?gid=158844415264

Interviewed were:
Richard Lovejoy, Chris Chappell and Adam Swiderski

To start with, can you give me some background on the play, and
explain the story a bit? Can you tell me who you are and what, your
role in the play or staging process is?

RL: Adventure Quest was conceived by Chris and I, who were sort
of nostalgically reminiscing about old school Lucas Arts and Sierra
games over a couple drinks. We realized there is something completely
unique about the narrative conventions in these classic games that
might be a compelling basis to structure a play around. The starting
point for us, and what amused us most–at least initially–was the
idea of warping a traditional plot flow. The Hero in our play has to
solve puzzles to advance the story. I know that when I would get
stuck or frustrated playing these games I would just start combining
items and trying everything with everything else. Chris and I thought
it would be funny to see a live person behaving like that, just
emptying all his possessions on the ground and literally just trying
to combine them while the narrative screeches to a momentary halt.
The story for the play is very much based on an adventure game standard
plot line. We use a medieval setting and have a Hero who must collect
inventory items and solve puzzles to rescue the mayor’s daughter from
an evil wizard. Aside from being the writer and co-producer, I’m also
playing a couple small parts in the play.

CC: I’m co-producing the play with Rich, and I’m also handling its
music and sound design. Although we came up with the concept
together, the play is really Rich’s baby–my role in its development
was limited to various comments and suggestions as Rich turned out
successive drafts of the script. But it does come out of a distinct
sensibility that we both share: an interest in playing with
narrative, the idea of finding ways to depict boredom and repetition
in an aesthetically compelling way, and in general the impulse to
take an unusual idea to its extreme without actually alienating the
audience.

AS: I’m the director of the play, which means it’s my job to take
Rich’s and Chris’s vision and translate it into something that actually
takes place on a stage. Thankfully, I also have a lot of history with
adventure games and gaming in general, so I kind of got where they
were going with this right from the beginning. The way I’ve been
describing Adventure Quest to people who ask me about it is that it’s
at once a tribute to a classic period in video gaming and an
examination of the way in which people get stuck in particular
patterns of behavior, and the risks and rewards inherent in breaking
out of them. This makes me sound a lot smarter than I am.

What lead you to make a play about a video game?

RL: I think this is something that has never–or possibly only
rarely–been done. For me Adventure Quest is less a play about video
games as it is a play that utilizes the wonderful and bizarre
conventions of a game to explore lots of themes (freedom, death,
happiness, death. Lots of death. Can’t stress death enough.) The main
impulse behind the idea however was nostalgia. Just remembering all
the feelings that would go into playing these games as a kid.
Everything from the frustrations of being stuck to the pure joy of
solving a string of difficult puzzles.

CC: Yeah, nostalgia was definitely the spark that got this started,
but that only gets you so far. I think we were specifically
interested in basing the play on puzzle-based adventure games, rather
than, say, RPGs or side-scrollers or first-person shooters or
anything like that. Rich and I were talking the other night (again,
while drinking–this is how most of our important work gets done)
about the difference between Adventure Quest and, for example, a
play based on Super Mario Brothers, which is a game almost entirely
defined by very specific physical aspects–precision movements and
types of enemies and so on. There’s very little that’s interesting
about the actual narrative of Super Mario Brothers, so while you
could certainly write a play starring Mario and Luigi and the
Princess, you’d have to remove just about everything that defines the
experience of playing that game. You could get closer to it with,
say, a dance piece based on jumping and breaking blocks, or a movie.
(In fact, they did make a movie out of the game, though I understand
it was pretty shitty.)

AS: This isn’t the first time I’ve had the idea–I’ll talk about that
more below–but I’ve long been a big champion of games as an art
form, and that there are narratives in gaming that would make for
great cinematic or theatrical stories. Unfortunately, those aren’t
the titles that tend to get adapted; instead, we get people trying to
make a movie out of something as flimsy as Super Mario Bros. or
Street Fighter. (Hey, I love both games, but they’re not exactly long
on story.) So when Rich told me that he was working on a piece having
to do with an era in gaming when story, really, was king, I got
excited. Then, I read the play, and got more excited. Then, I got
hungry. After eating a sandwich, my excitement returned.

Is this the first video game based theater piece? If so, why do
you think it has taken this long for video games to influence
theater, considering they entered the realm of cinema quite a long
time ago?

RL: This might not be the first play based on a video game; I imagine
somewhere somebody has done something, but I think this very well
could be the first play based on the word parser EGA era adventure
games. The types of games that get cinematic opportunities are
usually action games that can be easily translated onto screen.
Conversely, some movies just lend themselves to being games–I’ve
always felt that the movie the Warriors practically invented early
action game structure. Video games and movies seem to make natural
crossover partners, in a lot of ways. You can shoot or program a
scene anywhere. Dialogue is secondary to action. Theater as a medium
is a totally different beast. The primary vessel you have is the
actors. Action is secondary to dialogue (at least traditionally.)

CC: I totally agree. Theater is remarkably low-tech compared to even
films that have small budgets. (The kind of theater we’re doing,
anyway. Mainstream Broadway musicals like Rent are comparatively big-
budget affairs, which is why the tickets are so insanely expensive.)
Films and video games have a lot more in common in form and
execution, and that’s why you’re starting to see them converge in
various ways–the more recent Grand Theft Auto games are obviously
very cinematic. As to why adventure games specifically never
penetrated theater, I think they were always kind of a marginal
genre–even when Sierra was at the height of its popularity, a lot
more kids were playing Sonic the Hedgehog. I think of adventure games
as kind of a brief historical accident that never quite maintained a
lasting hold on the public imagination. They’re forgotten by a lot of
people now, and I imagine lots of kids born in 1994 have very little
idea that they even existed. So even though they’re formally a lot
closer to theater, they just weren’t big enough of a deal to inspire
many playwrights.

AS: Way back in the early ’00s, I actually wrote a play based on the
classic Lucas Arts adventure game Grim Fandango. Unfortunately, the
draft of it was lost in a catastrophic hard drive failure, and I
don’t have the energy to go back and re-write it. So, while I’d like
to claim credit for writing the first theatrical video game
adaptation (that I know of, anyway), I have no proof of it. You’ll
just have to take my word for it. Anyhoo, that digression aside, I
think there are a lot of reasons games and theater haven’t crossed
paths much, if at all. First, I think that, despite their prevalence
in modern pop culture, video games are often looked on by the world
at large as a “low” art, primarily focused on explosions and
visceral thrill. As I pointed out earlier, I think this assumption is
erroneous, but it’s definitely widespread–”like a video game” is a
common criticism leveled at particularly shallow action movies by
film critics, and one that makes me shake my fist every time I read
it. To Rich’s point, theater as a medium tends to focus on story,
dialogue, and character arcs, and so it would be understandable that
theater folks who don’t have a lot of experience with games wouldn’t
look to them for source material, as they’d be operating under the
general assumption that there isn’t a lot of any of that stuff to be
found in gaming. I don’t think film studios have done a particularly
good job of finding these things, either, which is why all video game
movies to date have been crap, but I think they see the dollar signs
associated with tapping into a game’s fan base and just go for it,
figuring they can worry about everything else after the box office is
counted. Another interesting thing about games is that they are so
often focused on a single individual character or protagonist,
through whom the player experiences the narrative. That character is
in EVERY scene, is the driving force behind EVERY event that happens
in the game, and is really, for the most part, the center of the
universe. That’s a very unusual structure for any kind of non-
interactive narrative, cinematic or theatrical. When I was writing my
Grim Fandango script, I ran into that as a problem from the get-go,
because all it really amounted to was Manny Calavera going from one
place to the next, solving a puzzle, and then moving on. It didn’t
make for a great story when you couldn’t actually take part in it. I
think one of the things that’s great about what Rich has done with
Adventure Quest is that, rather than try to find a way around that
narrative hurdle, he’s kind of made the play ABOUT that narrative
hurdle, and what it means for this one person to basically be the
only thing the world revolves around, and what that would mean for
someone who doesn’t necessarily want to fill that role. It allows us
to both have a compelling, fun story and also comment on the way
games–in particular, adventure games–work.

Why did you choose to base this play on King’s Quest? Had, you
considered other games, and if so, why choose King’s Quest,(and what
were the other games considered)?

RL: Adventure Quest is pretty much inspired by everything from King’s
Quest I through Grim Fandango. These are the video games I grew up
playing, so naturally they are the ones I went to for inspiration.

CC: True, though if you had to identify which games Adventure Quest
is the closest to, it’s definitely the early Sierra adventures, and
especially the first four King’s Quests. I think just about everyone
agrees that the shift to icon-based rather than parser-based input in
King’s Quest V really changed the experience of the games. Our
characters speak simple sentences (at least to begin with), and the
graphics and music are definitely meant to evoke 1986 rather than 1996.

AS: Yeah, we’ve talked a bit amongst ourselves about some of the
things that made this era of gaming interesting, and I think
something I’ve always come back to is that these early games didn’t
coddle you in the way that later adventure games did. I mean, if you
look at something like Dreamfall, there was basically no way to die,
no way to fail, and no way to miss the solution to certain puzzles.
The worst that could happen would be that you get stuck and can’t
move the story forward. In games like Zack McCracken and the Alien
Mindbenders, by contrast, you could screw something up early on and
not realize it until hours later, more or less leaving yourself
screwed and requiring a restart. Go back even further, and you had
games like these early Sierra titles and the Infocom text adventure
games that forced you to figure out the right way to state things–
i.e., “Use dagger on fish” might not work, but “Stab fish with
dagger” would. To my mind, there’s an inherent . . . not sadism or
cruelty, but willingness to stick it to the player that kind of faded
from adventure games as the genre evolved over the years. I think
there’s something in the idea of the player struggling to comprehend
what, exactly,the parser (which, more or less, was God as far as
making things work in the universe of the game) wanted from him or
her, with the constant threat of sudden–and, often, absurd–death
looming at every turn that’s appealing to me from a thematic standpoint.

Can you describe the writing and staging process of the play?

RL: My writing process is all about just getting it out. I write very
fast, and then I rewrite. A lot. Every time I finished a draft I
would send it to Chris and Adam and get notes and thoughts from them,
and then I would tweak and adjust accordingly. Even in rehearsal
we’re still adjusting lines a bit and making script modifications.

CC: Rich churned this thing out with amazing speed, and it was clear
to me even at the beginning that he was working on something really
special. As the play progresses some really, really strange and
unexpected stuff happens, and it was fascinating to watch these
events appear in the script in a very preliminary way that frankly
made no sense at all and would have pissed off audiences–I think
Rich will probably agree with me here–and then be refined and
integrated into the script in a way that was still kind of mind-
blowing, but also became really compelling from a dramatic and
artistic standpoint.

AS: Yeah, I second what Chris said about Rich’s writing. The big
challenge I’ve faced has been in staging it, because there are some
game-based ideas that, on the page, are great and speak to me as a
gamer, but when staged, probably wouldn’t do so well in front of an
audience sitting in seats watching a play unfold. Fortunately, I
think we managed to iron out those wrinkles in the writing/rewriting
process, but there are still little things here and there that you
just have to balance between recalling the games and putting
something on stage that’s going to be enjoyable for an audience.

How are you incorporating different elements of the video game
into the play?

RL: Our costume designer and our graphic designer are sticking to a
16 color traditional EGA palette. Chris is also composing some music
that will immediately make you think “Soundblaster card!” The way the
play works the main character literally says things like “Look” or
“Talk to man” or “Use rope with bow.” The “NPC” characters all have
limited speeches they can answer (the Hero might say “Ask about
tower” and if the NPC doesn’t have a programmed response you get a
classic “I don’t know what you’re talking about” response.)

CC: I’m using some old tracker software to emulate an 8-bit AdLib
sound card. The program is incredibly arcane–it involves a lot of
hexadecimal code, and you can’t even use a mouse–but the result is
definitely more authentic than anything you could do on a synthesizer.

AS: With the actors, we’ve worked some on finding movement things
they can do that recall character animation in gaming. I wanted to
stay away from robotronic, Disney’s Hall of Presidents-style
repetitive movement but, at the same time, have been working to find
looped movement patterns the actors can create for their characters
that will speak to their role in this world while still keeping in
mind that they are NPCs who don’t really have an extended life beyond
their interaction with the play’s main character. So far, I think
we’ve found a good balance of that, with some interesting and
humorous (I hope) results.

Based on the description of your play, this is a humorous piece.
Was it always conceived that way and how do you write jokes
based on the game?

RL: The play is certainly going to be very funny, but I think people
will be surprised at how dark it is as well. Those old adventure
games have sadistic streaks in them (check out something on YouTube
called “ways to die.”) The humor in the play comes from making the
world of the play conform to the “rules” of the adventure game
worlds. We also work a lot with the tension that exists from giving
characters who have a simple function in the game–like giving the
Hero an item he needs for a puzzle or providing exposition–and
hinting that those characters have inner lives and depth.

CC: There’s definitely a lot of funny stuff in the play. But I think
by the end a lot of audience members are going to be genuinely moved
and/or disturbed. There are two characters who become gradually self-
aware as the play progresses, and I think Rich has done an amazing
job of depicting all of the exhilaration but also disappointment and
heartbreak that they experience.

AS: The play will be, I hope, very funny, but as Chris and Rich said,
I think there is some pathos in it. I don’t think the two are
mutually exclusive, and I like the idea of putting an audience in a
situation when they think it’s all going to be jokes and gags, and
then hitting them with something that is maybe a little more thought-
provoking or, fingers crossed, disturbing. I also think, though, if
you look at most adventure gaming classics, they always had humorous
streaks throughout, not only in the actual game content, but the way
in which the mechanics worked. You’d find inventory objects that
you’d never think would work together, and get a laugh when you
figured out that’s what they were supposed to do. You’d die in
sudden, unexpected and humorous ways (the one I always remember is
the alien kiss from Space Quest that would only kill you screens
later. When it happened, it made me want to destroy my computer, but
in retrospect, it’s a hilarious twist), or encounter clever pop
culture references. I almost believe that making a play based on
those games WITHOUT a healthy dose of humor wouldn’t have been a good
tribute to them.

When I first learned about your play I was both delighted and
surprised. What has been the response from people upon hearing about
your play?

RL: People seem to be extremely excited! Even people who aren’t
gamers tend to know of these games or have enough of an idea of what
they were about. The idea behind the play is fresh, and there seems
to be some buzz, which makes me thrilled!

CC: We’re definitely getting an encouraging response. At least in New
York, there’s an audience for theater that deals with nostalgia and
pop culture stuff, and there are actually a lot of independent plays
done that cater to that crowd. Whether they’re any good is another
question altogether…

AS: Anyone familiar with the games I’ve talked to has immediately
thought it was a cool idea. Everyone who doesn’t know the games
hasn’t quite gotten that angle, but has definitely been intrigued. As
you mentioned before, the juxtaposition of theater and video games
hasn’t been done a lot before, so I think there’s some curiosity as
to how it’s going to work. I think we welcome that, because, in my
opinion, it does work, and I’m excited to show that off to an audience.

Who is your intended audience? Are you aiming for the nostalgia
crowd or do you expect to reach out to younger folks who have
experienced a different world of gaming than we may have grown up with?

RL: I think we’re aiming at people over 18. We have an interesting
demographic, I imagine, because there are lots of different groups
that are going to be interested in this. People in the chiptune
scene, older and younger gamers, and of course people into off and
off-off Broadway theater.

CC: Yeah. Adventure Quest is not for children under 18. We’re really
trying to get the gamers and geeks out for this one. It’s wonderful
to be making weird art in a city where stuff like this is actually
viable, but at the same time the experimental theater scene can be
kind of insular. While we’ll be happy to pack the house every night,
we’ll be even happier if we do so by mixing it up with folks who
don’t necessarily go out to see plays on a regular basis.

AS: Anyone who’ll pay to see it. :) In all seriousness, I hope that
gamers will come see it, but I do also hope that your standard
theater-going crowd will find their curiosity piqued and give it a
shot, because I think it works as a funny and compelling play even
for people who’ve never played a game in their life.

Speaking of growing up, can you tell me about some of your
experiences with gaming that may have lead to this project? How has
gaming influenced your life and work?

RL: Games have always meant a lot to me. I was very shy/socially
awkward as a kid. I grew up playing games as one of my primary
recreational activities in my formative years, and I imagine that
they have had a large impact on my sensibilities.

CC: There was a period of time where I was really obsessed with
adventure games. The early Sierra 3-D stuff was coming out right
around the time that my parents got divorced and I was a pretty
unhappy kid for awhile. They got me through a few tough periods of my
life. So I retain a real affection for them, but I also paradoxically
associate them with some pretty dark times. Rich mentioned the
“sadistic streak” of some games earlier on, and I think that’s
absolutely true. The cheery veneer of games like King’s Quest belies
something that’s vaguely disturbing and really hard to articulate–
not just the various frustrating ways you can die, but something more
fundamentally troubling about the rules that these characters are
bound by… That’s undoubtedly more than you wanted to hear, but in
any case, I think the play is really able to tap into that–though it
could just be me…

AS: I can’t even remember when I started playing games, it was so
early in my life. I guess my earliest exposure was arcade games, then
Pong, then the 2600, and I’ve just kept going from there. I’m still a
very active gamer and have worked in the industry as a games
journalist for about 10 years, now, so I guess it’s safe to say that
games have played a huge part in my life and work. But while I enjoy
all kinds of games and have been fascinated in watching the pastime
develop and change over the years, I’m grateful that the golden age
of adventure gaming happened during a formative time in my life,
because I think it instilled in me a love of story and compelling
narrative in games that has stuck with me ever since (although my non-
gamer friends who’ve heard me rant in defense of video games as an
art form over and over probably aren’t as thankful for that), and I’m
a big believer in the potential of games to deliver an immersive
experience that other forms of media can’t match.

Since we are a gaming website, what are some of your favorite
games (video, table-top, or role-playing, etc.) and what have you
been playing most recently?

RL: My favorite game of all time… Tough one. I’d have to go with
Quest For Glory II or the original Gabriel Knight. Doing this project
has caused me to go back and replay some of the various Quest games
(I had forgotten how absurdly hard King’s Quest I is. Man, that
beanstalk…) Aside from adventure games, I used to love Wing
Commander and X-wing. Sadly I don’t get to play too many video games
these days. As far as tabletop games go, I love Risk. LOVE IT. And I
used to play D&D and some other RPGs when I was younger.

CC: Oh, man. I could go on at length… Absolutely King’s Quest I-IV
and VI (an oasis between the disappointment of V and the utter
disaster that was VII), Space Quest I-III, Monkey Island 1 and 2,
almost every Infocom text adventure I ever played (especially A Mind
Forever Voyaging, the only game that ever moved me to tears), Grim
Fandango, a little-remembered Apple IIGS text-and-graphic adventure
called Dream Zone that had some really demented shit, an ancient
Apple II t-&-g entitled Death in the Caribbean that was probably the
first adventure game I ever played. Some of the classic Nintendo
stuff, especially Bionic Commando and Metroid (an amazing game). For
some reason I was obsessed with the arcade console game Golden Axe
for a while. The Dig had some lovely moments, as did Myst. Sometime
in the ’90s Virgin distributed a game called Floor 13, where you
basically managed assassinations and surveillance for a secret shadow
government in Britain–really, really cool. I can play Grand Theft
Auto in random homicidal mode for hours on end, though I always feel
kind of dirty afterwards.

AS: Right now, I’m playing Spider-Man: Web of Shadows as a palate
cleanser after immersing myself in AD&D in a marathon and hardcore
run through Neverwinter Nights 2 and Mask of the Betrayer. Before
that, it was Fallout 3, but my 360 got the Red Ring of Death in the
middle of it (which is why I fled to NWN 2) and I haven’t mustered
the motivation to commit to the wasteland again, yet. I’d say my
favorite game of all time…wow, that’s tough, but it’s probably
Civilization II, just because I blew through more hours of my life
playing it and its mods than anything else I can remember (although,
in a pinch, I’d probably have to commit to Galactic Civilizations II
as superior, at this point in its post-development life). Also, like
Rich, I was a big Wing Commander/X-Wing fan, although my favorite in
the space sim genre was Freespace 2. Whatever happened to space
combat sims, anyway?

How does one go about getting funding for a play like this? Was
it difficult to find backers for the project and what was their
reaction to your ideas?

RL: Well… We don’t have any backers. Basically, we’re getting this
done by being inventive, finding cheap and free rehearsal spaces,
calling in favors, working with a shoestring budget, etc. We’re
getting to put this play up largely due to the Brick Theater. They
host amazing summer theater festivals every year. If someone is
interested in funding us down the road, we’re certainly willing to
listen!

CC: Yes. No offer of money will be refused. As Rich says, we’re
basically funding this ourselves and being innovative wherever we
can. Whereas Broadway theater is actually funded by investors,
experimental stuff like Adventure Quest is usually low-budget and
relies partly on the generosity of institutions like the Brick.

AS: What they said.

What can you tell our readers that will bring them to NYC to see
your play? Knowing that the gamer stereotype is of someone who never
leaves their house, why should we crawl out of our gaming dungeons
for a night of theater?

RL: Though I honestly believe that both gamers and non gamers will
get something out of Adventure Quest, I think that gamers will
connect to it in a very profound way. We have a limited run, and
the game will always be there when you get back! Also, we’re all
friendly, and you can flag us down and have a drink with us after the
show!

CC: Well, with all due respect to those subsisting solely on Pepsi
and Skittles in their basements, I think gamers are actually a pretty
diverse group. The play is a great way to experience the city in a
non-touristy kind of way. Plus we have a video-game-themed bar.
Seriously: www.barcadebrooklyn.com.

AS: Well, for a couple of reasons. First, to show people that the
stereotype is b.s. Second, because if you ever played the games on
which Rich based this play, there is fan service GALORE. Third, the
theater sells beer cheap.

Do you have other gaming-themed projects in the works? Can you
tell me about them or, explain why this a one-shot deal?

RL: Right now this is my primary focus, though honestly I am toying
with the idea of doing a play based on Mike Tyson’s Punch-Out…

CC: I wouldn’t rule it out, but I think there’s a law of diminishing
returns with this sort of endeavor. (I really have no idea how
serious Rich is about the Punch-Out thing.) I keep thinking I’d like
to get into the interactive fiction scene, but a lot of what I’ve
seen online is not that great.

AS: I have to disagree with Chris here–I think it’s all in how you
do it. I would love to take another stab at adapting Grim Fandango
for the stage, if I ever muster the motivation to transcribe it,
again. I think there are plenty of stories in gaming that would make
good plays with the right kind of creative adaptation. Whether or not
I’m the person to do that, I don’t know, but I think the potential is
definitely there.

What other projects have you developed? Do you want to plug other
work you are attached to?

RL: I wrote a comedy/sci-fi web series called Four If By Space
(www.fourifbyspace.net) which is going to shortly be airing it’s
second season. Chris composed the score for that as well. I’ve also
got two polished horror/comedy screenplays that I hope to get
funding for one day and I’m working on a plethora of other projects.

CC: I also recently did the music for the movie Rising Up: The Story
of the Zombie Rights Movement, which just premiered at the Boston
Film Festival. I’ve been working for a while on a musical about a
cartographer who’s investigating the disappearance of two young
people and has to come to terms with his capacity for violence. I’m
sure we’ll have no trouble filling the house for that one.

AS: I’m in a band called Supermajor–you can find us on Myspace and
Facebook.

Any final words about the play or the process of creating it and
bringing it to the theater?

RL: This has been an amazing experience so far. At risk of being
trite or corny or whatever, I feel really lucky to be surrounded by
such a talented group of people. Also, I’d love to give a special
shout out to the Brick Theater (www.thebricktheater.com). They
constantly put up amazing and gutsy shows there. We’re happy to be a
part of their festival and looking forward to an exiting run!

So, if Adventure Quest sounds like your kind of play, check out the
information below to get tickets and make your way to the Brick Theater.

The play is part of the Brick Theater’s Antidepressant festival. The
theater is at 575 Metropolitan Street in Brooklyn between Lorimer and
Union. Via subway, you can take the L or G train to the Lorimer/
Metropolitan stop. Tickets can be ordered on the festival page:
http://www.bricktheater.com/antidepressant.

Production dates are as follows:

Saturday June 6th @ 5:30 PM
Wednesday June 17 @ 8 PM
Thursday June 25th @ 7 PM
Saturday July 4 @ 5 PM