indoor performance

MAY 13 – 22
FRI / SAT / SUN
7:30 PM

GENERAL ADMISSION TICKET
(Seating assigned upon arrival)
$25 - $45

*SUPPORTER TICKET
(Priority reserved seating)
$75

*Supporter ticket includes a donation to artist to invest in the play’s development and future productions

Please note:

• Ticket sales close 1 hour before the start of each performance

LOCATION

All performances take place at Oakland Theater Project at FLAX art & design in Downtown Oakland.

The Oakland Theater at
FLAX art & design
1501 Martin Luther King Jr. Way
Oakland 94612

Oakland Theater Project presents

HAT MATTER

Thoughts of a black mad hatter

by Michael Wayne Turner III

A one man show of hip-hop theatre comprised of poems, stories, and monologues. This work uses movement and dance accompanied by original composed classical string music to explore  the head space of an American Black Dandy. We invite the audience into the dressing room of this Dandelion as he frolics about his foxhole making sense out of non-sense.  

Run Time: 60 minutes (no intermission)

Michael Wayne Turner III is an award winning poet, with a background in theatrical acting and  an obsession for style. His training, scholarship, skill, and talent makes him a master storyteller. 

The Examiner calls Turner “remarkable, dynamic and real...Turner is maximally obsessed with character...It’s hard not to love and his impact resonates and questions churn long after  patrons leave the theater.” The San Francisco Chronicle describes Michael as one “with a  magnetic deep-dyed earnestness and almost otherworldly innocence.”  

Michael has shared stages with the likes of Daveed Diggs the Kronos Quartet & Beyonce to  name a few. A winner of “The Moth Story Slam” and triple award winner at the International  Performing arts conference. Turner is locally known for his work as the lead actor in the world  premiere of “Chasing Mehserle” written by Chinaka Hodge directed by Marc Bamuthi Joseph  and Sean San Jose; as well as his work with Marc Bamithi Joseph’s reincarnation of “Word  Becomes Flesh” in which he is used to speak, act and dance in what the Washington Post notes a “theoretical theatrical smack down.“