Support APL this Giving Tuesday!


We at Akropolis Performance Lab have a lot to be thankful for, and YOU are a big part of that! You attend our productions and Salons, share and comment on our blog and social media posts, submit plays for our annual New Play Salon, and so much more. You truly inspire us to keep pushing toward new heights in our work.

On November 28, APL will be one of more than 30,000 organizations participating in #GivingTuesday, a global movement dedicated to celebrating and encouraging philanthropic giving during the holiday season.

This year’s Giving Tuesday also marks the launch of our crowdfunding campaign for Crime + Punishmentthe third and final phase of fundraising efforts for this project. Our goal is to raise $6,000 between now and January 15.

Crime + Punishment, APL’s original adaptation of Dostoevsky’s finest novel, has been nearly two years in development. We are so excited to finally share it with you and look forward to seeing you at one of our shows in Akron or Seattle!

Please help us achieve this final goal by making a donation to our Crime + Punishment campaign now.

And while you’re thinking about us, please also help spread the word about our #GivingTuesday campaign by liking us on Facebook and following us on Instagram.

More information about Crime + Punishment and purchasing tickets is here.


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Working as an APL Ensemble Actor

People regularly question me about what it’s like to be an Akropolis actor.  We talk about ourselves as an actor-centered, process-drive ensemble committed to long-form rehearsal, so what does that look like in practical terms? Aside from the value we place on physical and vocal training, how do we approach the creative process in the rehearsal studio, and what expectations do we have for our actors that differ from those of an actor engaged in the typical process of putting up a show in 4 or 5 weeks. As we near the opening of Crime + Punishment after more than 550 group rehearsal hours I thought it would be an interesting opportunity to share those expectations with you. I’d love to receive your responses and answer any questions.

Working as an APL Ensemble Actor

12.01.16 Devising Duklida 4

December 2016 rehearsal of Crime + Punishment (Joseph Lavy, Matt Sherrill, Tyler Polumsky, Emily Jo Testa, Annie Paladino)

Working as an APL ensemble actor means:

  1. Embracing APL’s signature aesthetic, which:
    1. asserts that the theatrical life of an APL production arises from the tension created between formal discipline and inter-personal immediacy
    2. demands levels of specificity and concepts of spontaneity which may at times seem at odds with dominant contemporary acting approaches
  2. Engaging each rehearsal as a generative artist, making propositions through prepared actions, etudes, improvisations for theatrical material from which the performance text will be created
  3. Recognizing that every proposition—however formal, realistic, or abstract—must be built on a foundation of impulses and points-of-contact with stimuli from external sources (living partners, objects, memories and associations projected outside of the self)
  4. Proposing performative material that is precise, repeatable and iterative
  5. Adapting one’s proposition to changing circumstances (montage with other actors, inclusion of music and/or text, addition of objects, changes of space) without abandoning or destroying the proposition’s originating stream-of-life
  6. Incorporating, retaining, and justifying adjustments made to the proposition in collaboration with the director and any acting partners
  7. Remaining receptive and sensitive to new meanings as they emerge, and embodying them in subsequent iterations
  8. Developing alternate propositions for a subject or scene when inspired or requested, rather than radically changing or abandoning an existing proposition without discussion or collaboration with the director and acting partners
  9. Elaborating with one’s artistic partners the overall performance text composed of acting scores with compound dramaturgical levels:
    1. The original truth, associations and details of the initial propositions
    2. Specificity of form and points-of-contact with acting partners
    3. A living give-and-take with acting partners, which respects and maintains the established physical structure
    4. Precise execution which ensures clear communication of intended information to the spectator
  10. Using one’s acting score as the means to provoke and respond to one’s acting partners and spectators, not simply as a form of choreography or an illustration of a text
  11. Respecting the established details of the final performance text as elaborated through the rehearsal process, and not introducing significant deviations from their score in a moment of on-stage inspiration or improvisation in performance conditions. Once a production is in performance, new propositions are first to be explored and validated in collaboration with the director and other actors under rehearsal conditions before being introduced before an audience


Crime + Punishment Ticket Sales are Open!

Venture into the lower depths of 19th-century St. Petersburg, where the mysteries of the Russian soul and intellect, crime and love are deeply, irrevocably entwined as we reveal the mind of a killer in his search for meaning and redemption. Did we mention there’s a hurdy gurdy?!

Find complete information about Crime + Punishment: a psychological account of a particular crime on our SHOW PAGE.

Tickets are now on sale for performances in Ohio and Washington. Reserve your seats today!

Nov 30 – Dec 2 | Akron OH – Balch Street Theatre
Jan 5 – 13 | Seattle WA – West of Lenin


Crime + Punishment will play at West of Lenin

If you’ve been watching for announcements about our upcoming production of Dostoevsky’s Crime and Punishment, please note our new venue:  West of Lenin!

We will perform Crime + Punishment: a psychological account of a certain crime at that outstanding Fremont venue January 5-13.

This production marks the first time since 2004 that APL has elected to produce a full-scale work in a traditional theatre space.

Our work has always been developed with sensitivity to the relationship between the performance art and the specific architecture it inhabits. We call our work “site responsive” – designed to interact organically and flexibly within each unique space used.

Over the years, we have produced in a Beacon Hill historical estate house, the Volunteer Park Water Tower, a church sanctuary in Ballard, the Swinomish Indian Tribal Community lodge, and the basement of our own home. Although it’s been awhile, we also have produced in conventional theatre venues such as On the Boards Studio, Capitol Hill Arts Center (CHAC), Freehold and Seattle Chamber Theatre (when the Oddfellows Building was an arts space), Theatre4, and The Balch Street Theatre.

Wherever we perform, rest assured the artistic principles, vision, and commitment to austerity and intimacy that define our work as uniquely APL will continue to guide us without compromise.

Crime + Punishment: a psychological account of a certain crime, formerly referred to under the working title 730 Steps, is developing into a highly theatrical piece. A small, invitation-only rendering in July yielded great feedback for our fine tuning.

We can’t wait for you to experience the finished piece at West of Lenin’s beautiful theatre!

Ink us in for a date: January 5-13 at West of Lenin, 203 N 36th St, Seattle!

Ticket info coming soon.