event Cat's-Paw

Cat's-Paw was first written and produced in the ’80s, when terrorism was something that happened elsewhere, or at least didn't automatically mean radical Muslim violence to most Americans. For this Strollers Theatre production, director Rob Matsushita tries to push William Mastrosimone’s story of a journalist held hostage by an eco-terrorist closer to the post-9/11 world. He's chosen to set thriller in the mid-’90s to avoid any mental conflicts (after all, it's more of a stretch to imagine a journalist entertaining a terrorist's demands in the present day), and make sure audiences concentrate on the play's never-moldy messages of media responsibility, water safety, and environmental accountability. 

Cat's-Paw was first written and produced in the ’80s, when terrorism was something that happened elsewhere, or at least didn't automatically mean radical Muslim violence to most Americans. For this Strollers Theatre production, director Rob Matsushita tries to push William Mastrosimone’s story of a journalist held hostage by an eco-terrorist closer to the post-9/11 world. He's chosen to set thriller in the mid-’90s to avoid any mental conflicts (after all, it's more of a stretch to imagine a journalist entertaining a terrorist's demands in the present day), and make sure audiences concentrate on the play's never-moldy messages of media responsibility, water safety, and environmental accountability. 

Cat's-Paw was first written and produced in the ’80s, when terrorism was something that happened elsewhere, or at least didn't automatically mean radical Muslim violence to most Americans. For this Strollers Theatre production, director Rob Matsushita tries to push William Mastrosimone’s story of a journalist held hostage by an eco-terrorist closer to the post-9/11 world. He's chosen to set thriller in the mid-’90s to avoid any mental conflicts (after all, it's more of a stretch to imagine a journalist entertaining a terrorist's demands in the present day), and make sure audiences concentrate on the play's never-moldy messages of media responsibility, water safety, and environmental accountability. 

Cat's-Paw was first written and produced in the ’80s, when terrorism was something that happened elsewhere, or at least didn't automatically mean radical Muslim violence to most Americans. For this Strollers Theatre production, director Rob Matsushita tries to push William Mastrosimone’s story of a journalist held hostage by an eco-terrorist closer to the post-9/11 world. He's chosen to set thriller in the mid-’90s to avoid any mental conflicts (after all, it's more of a stretch to imagine a journalist entertaining a terrorist's demands in the present day), and make sure audiences concentrate on the play's never-moldy messages of media responsibility, water safety, and environmental accountability. 

Cat's-Paw was first written and produced in the ’80s, when terrorism was something that happened elsewhere, or at least didn't automatically mean radical Muslim violence to most Americans. For this Strollers Theatre production, director Rob Matsushita tries to push William Mastrosimone’s story of a journalist held hostage by an eco-terrorist closer to the post-9/11 world. He's chosen to set thriller in the mid-’90s to avoid any mental conflicts (after all, it's more of a stretch to imagine a journalist entertaining a terrorist's demands in the present day), and make sure audiences concentrate on the play's never-moldy messages of media responsibility, water safety, and environmental accountability. 

Cat's-Paw was first written and produced in the ’80s, when terrorism was something that happened elsewhere, or at least didn't automatically mean radical Muslim violence to most Americans. For this Strollers Theatre production, director Rob Matsushita tries to push William Mastrosimone’s story of a journalist held hostage by an eco-terrorist closer to the post-9/11 world. He's chosen to set thriller in the mid-’90s to avoid any mental conflicts (after all, it's more of a stretch to imagine a journalist entertaining a terrorist's demands in the present day), and make sure audiences concentrate on the play's never-moldy messages of media responsibility, water safety, and environmental accountability. 

Cat's-Paw was first written and produced in the ’80s, when terrorism was something that happened elsewhere, or at least didn't automatically mean radical Muslim violence to most Americans. For this Strollers Theatre production, director Rob Matsushita tries to push William Mastrosimone’s story of a journalist held hostage by an eco-terrorist closer to the post-9/11 world. He's chosen to set thriller in the mid-’90s to avoid any mental conflicts (after all, it's more of a stretch to imagine a journalist entertaining a terrorist's demands in the present day), and make sure audiences concentrate on the play's never-moldy messages of media responsibility, water safety, and environmental accountability. 

Cat's-Paw was first written and produced in the ’80s, when terrorism was something that happened elsewhere, or at least didn't automatically mean radical Muslim violence to most Americans. For this Strollers Theatre production, director Rob Matsushita tries to push William Mastrosimone’s story of a journalist held hostage by an eco-terrorist closer to the post-9/11 world. He's chosen to set thriller in the mid-’90s to avoid any mental conflicts (after all, it's more of a stretch to imagine a journalist entertaining a terrorist's demands in the present day), and make sure audiences concentrate on the play's never-moldy messages of media responsibility, water safety, and environmental accountability. 

Cat's-Paw was first written and produced in the ’80s, when terrorism was something that happened elsewhere, or at least didn't automatically mean radical Muslim violence to most Americans. For this Strollers Theatre production, director Rob Matsushita tries to push William Mastrosimone’s story of a journalist held hostage by an eco-terrorist closer to the post-9/11 world. He's chosen to set thriller in the mid-’90s to avoid any mental conflicts (after all, it's more of a stretch to imagine a journalist entertaining a terrorist's demands in the present day), and make sure audiences concentrate on the play's never-moldy messages of media responsibility, water safety, and environmental accountability. 

Cat's-Paw was first written and produced in the ’80s, when terrorism was something that happened elsewhere, or at least didn't automatically mean radical Muslim violence to most Americans. For this Strollers Theatre production, director Rob Matsushita tries to push William Mastrosimone’s story of a journalist held hostage by an eco-terrorist closer to the post-9/11 world. He's chosen to set thriller in the mid-’90s to avoid any mental conflicts (after all, it's more of a stretch to imagine a journalist entertaining a terrorist's demands in the present day), and make sure audiences concentrate on the play's never-moldy messages of media responsibility, water safety, and environmental accountability. 

Cat's-Paw was first written and produced in the ’80s, when terrorism was something that happened elsewhere, or at least didn't automatically mean radical Muslim violence to most Americans. For this Strollers Theatre production, director Rob Matsushita tries to push William Mastrosimone’s story of a journalist held hostage by an eco-terrorist closer to the post-9/11 world. He's chosen to set thriller in the mid-’90s to avoid any mental conflicts (after all, it's more of a stretch to imagine a journalist entertaining a terrorist's demands in the present day), and make sure audiences concentrate on the play's never-moldy messages of media responsibility, water safety, and environmental accountability. 

Cat's-Paw was first written and produced in the ’80s, when terrorism was something that happened elsewhere, or at least didn't automatically mean radical Muslim violence to most Americans. For this Strollers Theatre production, director Rob Matsushita tries to push William Mastrosimone’s story of a journalist held hostage by an eco-terrorist closer to the post-9/11 world. He's chosen to set thriller in the mid-’90s to avoid any mental conflicts (after all, it's more of a stretch to imagine a journalist entertaining a terrorist's demands in the present day), and make sure audiences concentrate on the play's never-moldy messages of media responsibility, water safety, and environmental accountability.