trebuchet, n. Something finely balanced, often for release.

Since 2011, we have worked to create live theatre that is finely crafted and gives the audience some new knowledge to take home.


Our Mission

The mission of Trebuchet Players is to create consistently compelling drama that resonates with regular people.

Our vision

The core tenets of our theatrical practice are communication, collaboration, and accountability. With these in mind, we have developed the following as best practices:

  • Pay-As-You-Leave

    • Beginning with the 2020 season, admission to every Trebuchet Players production shall be donations-based, and we won’t “pass the hat” until the end of the show (although tip jars will be available at the box office and concessions stand, and guests can make donations through the website at any time).

  • Scholarly Approach

    • Whether it’s a classic text, a more recent script, or something totally new, each play produced by Trebuchet Players should demonstrate cohesive dramatic and rhetorical structures; in other words, each story needs a plot and a premise.

    • Each production team should include at least one dramaturg or divide the dramaturgical tasks among other members of the team.

  • Audience Engagement

    • In order to best serve the needs of the audience, Trebuchet Players will regularly invite feedback in the form of surveys, pre-/post-show discussions, etc.

  • Direct Action

    • Trebuchet Players will regularly develop and execute Applied Theatre projects that utilize the tools and techniques of theatre for the purposes of education, therapy, community-building, etc.

  • Mobility

    • The company strives toward a mobility strategy that would allow Trebuchet Players productions to travel to other parts of the United States.

A man sits in his workshop, busy with an invention of wheels and springs. You ask him what the gadget is, what it is meant to do. He looks at you confidingly and whispers: ‘I really don’t know.’
Another man rushes down the street, panting for breath. You intercept him and ask where he is going. He gasps: ‘How should I know where I’m going? I am on my way.’ ...
[These] two men are a little mad. Every sensible invention must have a purpose, every planned sprint a destination. Yet, fantastic as it seems, this simple necessity has not made itself felt to any extent in the theater.
— Lajos Egri, How to Write a Play (1942)