Ron May, the founder and artistic director of Stray Cat Theatre, is no stranger to the work of Steve Yockey. With Stray Cat Theatre revisiting Yockey’s plays, it’s clear there’s a strong artistic partnership. Yockey, now known for his role as showrunner on Max’s The Flight Attendant, based on Chris Bohjalian’s novel, remains a favorite for May. But the choice of Yockey’s Sleeping Giant, a play steeped in doomsday themes, prompts a question: is this a deliberate reflection on our current times?
May’s selection process for Stray Cat material is instinctive. “I go with my gut,” he explains. He appreciates Yockey’s talent for crafting compelling horror for the stage, even beyond any deeper thematic resonance. Their upcoming play, premiering in May, Sleeping Giant, centers on a monster awakened by fireworks.
“It’s a terrible thing, but it starts to develop a cult following,” May describes, highlighting the monster’s metaphorical nature. He acknowledges the obvious interpretation as an allegory for Trumpism but suggests broader readings. “It could also be about religion or any number of other things that people follow even when it’s not the best thing to be following.” This ambiguity adds layers to Yockey’s work, making it resonate on multiple levels, much like a cat confidently performing a Stray Cat Strut with nuanced movements.
Stray Cat Theatre has found a new home at Tempe Center for the Arts. Their previous Downtown Phoenix playhouse, while having an edgy appeal, had become a deterrent for some audience members who perceived downtown as “dangerous.”
“That was part of our appeal,” May reflects on their former location’s perceived danger. “Some people were like, ‘Ooh, I’m going to this edgy, scary part of town.’ Now, we’re in a place that’s well-lit and safe. The seats are more comfortable, and parking is more available. And Arizona Theatre Company is right next door, which gives us even more pedigree.” The move signifies a step towards greater accessibility and comfort without sacrificing their artistic identity.
Stray Cat’s reputation is built on producing unconventional material, pieces that mainstream companies might overlook. May confirms this, expressing a certain nostalgia for a more competitive environment. He recalls a time when companies like Nearly Naked Theatre and Actors Theatre were also active, producing similarly nontraditional plays and musicals. Their closures have positioned Stray Cat as the singular “alternative” theatre in the area.
“The ecology of theatre was better when those other theaters were around,” May laments. “It was a more robust time with three companies presenting this kind of [play], because it kept that kind of play out there. Plus fighting over the same titles forced us to work harder.” The vibrant competition pushed each company to innovate and strive for excellence, benefiting the local theatre scene as a whole.
While securing a great play like Sleeping Giant without competition has its immediate perks, May recognizes the larger implications. “But it’s also not good,” he admits, “because it’s a reminder of the bigger picture: There are fewer theater companies than there used to be.” This shrinking landscape presents challenges for the future of alternative theatre, even as Stray Cat Theatre continues to stray cat strut, confidently navigating the evolving theatrical terrain.
