Seattle Repertory Theatre's 2006-07 season

For further information about the Rep's lineup and to purchase season subscriptions, call 206-443-2222 or go to www.seattlerep.org.

• "The Great Gatsby" (Nov. 2-Dec. 10): Simon Levy's new adaptation of the iconic F. Scott Fitzgerald novel was a box-office hit at the Guthrie Theater in Minneapolis recently, under Rep honcho David Esbjornson's direction. The play's Rep debut of the work is also staged by Esbjornson.

• "The Lady from Dubuque" (Jan. 11-Feb. 10, 2007): A dinner party takes a dark turn when unexpected guests appear, in Edward Albee's rarely performed 1980 play. Esbjornson directs, with Albee's likely involvement.

• "Fire on the Mountain" (Feb. 22-March 24, 2007): A well-traveled revue of folksy Appalachian tales and bluegrass tunes, co-created by local musical artist Dan Wheetman, has its Seattle premiere.

• "Gem of the Ocean" (April 5-May 6, 2007): Set in 1904, the late August Wilson's drama concerns a troubled man seeking sanctuary from an elderly sage. No director or star is set, but Esbjornson doesn't rule out participation by the play's Broadway director, Kenny Leon, or star, Phylicia Rashad.

• "Thom Pain (based on nothing)" (Oct. 5-Nov. 5): Will Eno's Off Broadway hit is a neo-absurdist monologue one critic called "an audacious riff on life's unfulfilled promises." Seattle's Todd Jefferson Moore stars, under Jerry Manning's direction.

• "Memory House" (Nov. 16-Dec. 17): Releasing a child into the unknown is hard to do, in Kathleen Tolan's play about mother-daughter relations. Empty Space artistic director Allison Narver directs.

• "Blue Door" (Feb. 1-March 4, 2007): An African-American math professor conjures his ancestors in Tanya Barfield's serio-comic script.

• "My Name is Rachel Corrie" (March 15-April 22, 2007): The Rep's most controversial entry is this Alan Rickman-Katharine Viner docudrama, based on the writings of Olympia native Rachel Corrie. The solo work explores Corrie's youthful political activism and her fatal sojourn on the Gaza Strip.

— Misha Berson,

Seattle Times theater critic