2018-19 Season

Custom Made is thrilled to announce our 20th anniversary season! Subscriptions will be on sale by June 15th, and single tickets by August 15th.

Subscribe!   Here’s our packages for our 18/19 Season:

Full season sub 6 play/ 4 play  Opening Nights (Sun at 7pm)  $200  (6 play only)
“Saturday Nights (8pm) $150 / $120
Sat Matinees (2pm)  $140 / $115
Thurs & Fri Nights (8pm) $120 / $100
Previews (Thurs, Fri or Sat 8pm) $99 / $89

Flex passes
6 show Flex $ 150
4 Show Flex $ 130
3 Show Flex $ 115

And here’s the productions!

The Goat, or Who is Sylvia?
by Edward Albee (Who’s Afraid of Virginia Woolf?)
directed by Paul Stout

Sept 20 – Oct 20

Winner of the 2002 Tony Award for Best Play, The Goat is about a profoundly unsettling subject: the irrational, confounding, and convention-thwarting nature of love.  Martin—a hugely successful architect who has just turned fifty—leads an ostensibly ideal life with his loving wife and gay teenage son. But when he confides to his best friend that he is also in love with Sylvia, he sets in motion events that will destroy his family and leave his life in tatters. Albee’s boundary-pushing play is puzzling, powerful, bawdy, and disturbing.

In The Heights
Music and Lyrics by Lin-Manuel Miranda (Hamilton)
Book by Quiara Alegría Hudes
Directed by Nikki Meñez

Nov 8 – Dec 15

Before there was Hamilton, there was In the Heights, which tells the universal story of a vibrant community in New York’s Washington Heights neighborhood.  It’s a community on the brink of change, full of hopes, dreams and pressures, where the biggest struggles can be deciding which traditions you take with you, and which ones you leave behind. Custom Made will take this Tony Award winning musical and reduce it to its intimate stage, empathizing the richness of the communities that make up our cities


When We Were Young and Unafraid
By Sarah Treem (Showtime’s The Affair, The Here and Now)
Directed by Tracy Ward

Jan 17 –  Feb 9

Stacy Ross returns to Custom Made to star in this vital play, set the early 1970’s, where Agnes (Ross) has turned her quiet bed and breakfast into one of the few spots where victims of domestic violence can seek refuge.  But to Agnes’ dismay, her latest runaway, Mary Anne, is beginning to influence Agnes’ college-bound daughter Penny.  As the drums of a feminist revolution grow louder outside her tiny world, Agnes is forced to confront her own presumptions about the women she’s spent her life trying to help.  When We Were Young and Unafraid reminds us that the path to today’s rights were perilous and their future is not guaranteed, while telling a personal tale of change and redemption.


American Hero
By Bess Wohl (Small Mouth Sounds)
Directed by Allie Moss

March 7 –  April 6

A comic look at what’s left of the modern American Dream.  At a Toasted Subs franchise in the local mall, three up-and-coming “sandwich artists”—a teenager, a single mom, and a downsized refugee from corporate banking—are perfecting the mustard-to-cheese ratio according to the company manual.  But when the owner stops providing the resources to make those perfect lunches, they become unlikely allies in a post-recession world.  American Hero is a supersized dark comedy about life, liberty, and the pursuit of sandwiches.


Life Sucks
By Aaron Posner (Stupid F*cking Bird)
Sort-of-adapted from Uncle Vanya by Anton Chekhov
Directed by Brian Katz

May 2- June 1

In this brash reworking of Chekhov’s Uncle Vanya, a group of old friends, ex-lovers, estranged in-laws, and lifelong enemies gather to grapple with life’s thorniest questions—and each other. What could possibly go wrong? Incurably lustful and lonely, hapless and hopeful, these seven souls collide and stumble their way towards a new understanding that Life Sucks! Or does it?  Posner’s follow-up to his Stupid F*cking Bird (seen at SF Playhouse) is Mel Brooks meets Chekhov: lowbrow, dirty, passionate, and unexpectedly tender.


Lyrics and music by Stephen Sondheim, Book by James Lapine
Directed by Stuart Bousel
June 20 – July 27

Bold, unexpected and thrilling, Passion is one of Stephen Sondheim’s most emotional works. Intimate, raw, erotic and dark, it explores universal, yet often unspoken, truths.  Passion is set at a remote military outpost in 1863 Italy, where a handsome army captain, separated from his beautiful – but married – mistress, is forced to re-evaluate his beliefs about love when he becomes the object of the obsessive, unrelenting passions of Fosca, his Colonel’s plain, sickly cousin.  Many consider this haunting,

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