With special thanks to all the actors, designers, directors, writers, and artisans who brought their talent, savvy, craft, flesh, and passion to over 23 years and 2100 performances.
In 2008, Sledgehammer Theatre took a hiatus to regroup, restructure, and recharge. With your help, our production of Happy Days, by Samuel Beckett, opening May 14th at the 10th Avenue Arts Center's Studio Theater, will mark the first production of Sledgehammer’s new era, sans “Theatre” in its name.
Sledgehammer_ stakes our claim as an art-making, rather than exclusively a theater-making, organization. Our future work will take many forms, but we are starting off, with your help, playing to our greatest strength: theatrical collaboration. For those of you who have already been sledgehammered, you know you are going to get some of the most powerful, beautiful and surprising art in Southern California.
Please join us for our first production in five years, as well as the future of Sledgehammer_ as we grow and create a new home for ourselves in San Diego in 2014!
"...the company hit the bleak landscape of San Diego's low-chic galleries and loft-culture desperadoes, mostly hidden from view in that white-collar Navy town. They produced in storefronts, a parking garage, a 20,000 square foot industrial space, a canyon, literally dodging the fire marshal at every step."
Ferdinand Lewis, American Theater magazine, 1995, "How to Sledgehammer Theatre"
[March issue headline "The Bad Boys of San Diego Theatre"]
"...living helter-skelter, Sledgehammer survived by tenacity, bravado and street smarts. Like ornery alley cats, they outlived fires, eviction, casting calamities and other natural disasters. More miraculously, Sledgehammer slowly won the hard-earned esteem of Southern California's critical establishment...a Sledgehammer cult emerged. One Friday night preview of their world premiere of Mac Wellman's 7 Blowjobs turned into a happening as excitement buzzed the crowd as at a rock concert. The Wellman production played to sold out houses and went in to an extended run of several months. Moreover, the author (and the press) praised the production for its nasty comic brio and blistering precision."
Allan Havis, TheatreForum, 1991