The world premiere of Tim Venable’s play Adolescent Salvation opens Friday, September 5 at Rogue Machine in the intimate upstairs Henry Murray Stage at the Matrix Theatre, 7657 Melrose Ave, Los Angeles, CA 90046. Tim (pictured) is a multi-disciplined artist who works as a playwright, director, and actor and is currently adapting his play Baby Foot, which was produced by Rogue Machine, into a feature film.
Directed by Guillermo Cienfuegos, Adolescent Salvation takes place over the course of one night as three teens banter, bicker and push each other to the edge of danger through a haze of tequila, texting, and Taylor Swift. With consequences that could prove lethal by morning, this searingly funny and fearlessly inquisitive play examines characters we judge most harshly – and the fatal consequences of ignoring our own complicity in the deeds that we condemn.
I decided to speak with Tim about the creation of the play and his journey to bring it to Rogue Machine, as well as his personal experience working with teenagers upon whom his characters may be molded.
Carolina Rodriguez, Alexandra Lee, Michael Guarasci
Thanks for speaking with me Tim. First, where and when did you first get involved as a playwright for the stage?
The first thing I ever wrote was a feature-length screenplay, which I had no idea how to do, and it ended up being an amazing training ground in terms of how to tell a story. I started writing short plays, and one of those short plays I developed into a full-length play, and during the pandemic, I just kept going, and fell in love with the process.
Describe your journey from acting to directing to playwrighting? Or was it in a different order?
That’s right! I was (am) an actor, and one of the short plays I wrote (Handwriting) was produced in Chicago at the Mary-Arrchie Theatre, and was the first thing I directed. I produced/directed a production of Romeo and Juliet for the Hollywood Fringe Festival in 2018; and then three years ago I produced/directed my play Baby Foot in NYC in 2023, which Rogue Machine Theatre then produced in L.A.
Which aspect of those three do you find the most personally rewarding? How so?
Playwriting. I love to direct, but in order for me to do it, I have to have a kind of obsessive vision for a particular play or film, which I do for a number of (mostly) classical plays. I’ve had a deeply rich and rewarding life as an actor, but I look at that life as a kind of gateway drug to being able to (hopefully) write characters and stories that actors love to play. There are myriad joys (and challenges) with playwriting that I feel totally suited for, and as crazy vulnerable as it is, the collaboration with director, actors, and designers is deeply rewarding.
Why did you decide to write about teenagers?
That’s a really good question. It’s such a raw, formative time, and I think the closest thing to universal in a way that not every period of our lives can be, at least as Americans. It’s such a weird and intense time, especially in high school, and endlessly dramatic.
Carolina Rodriguez
How do you describe what Adolescent Salvation is about?
I can’t say what Adolescent Salvation is “about,” that’s for audiences to decide, but I think, ultimately, it is an expression of faith; I have an inherent belief in our human potential, in spite of (and because of) all the terrible, beautiful, hilarious, and devastating things we do, the heartache in bearing witness to our failures, and a fire of certainty that we can do better.
Do you really believe it’s always possible to do better, given the challenges teens face to succeed in life these days? How so?
It’s always possible, but it doesn’t mean we will. I’m an optimist at heart, but I’m not delusional. We’re in a deep crisis in very existential ways, so that has to be acknowledged. But this is what I mean by the act (practice) of faith, which I’ve seen in my own life (over 20 years in recovery from drugs & alcohol). And it also depends on what our definition of “success” is, which I think is being deeply interrogated by those of us unwilling to believe the grotesque cultural narrative of what it means to succeed.
Michael Guarasci
Tell me about your previous experience working with Guillermo Cienfuegos who directed the world premiere of your play The Beautiful People and produced the LA premiere of your play Baby Foot.
I knew and deeply admired John P. Flynn for years, and he was an early champion of my work. But it wasn’t until The Beautiful People that I felt I had something worth his time, and so I sent it to him. He immediately responded, and gave the play to Guillermo. After an incredible reading of it with the brilliant actors Alex Neher and Justin Preston, we went into production, and it changed my life. Besides being a brilliant, relentless, world-class director, and an amazing human being, the thing that I felt with Guillermo immediately, and still feel to this day, is an artistic kinship and profound admiration for his courage. He knew and understood and felt in his bones everything I was trying to do with The Beautiful People, and now Adolescent Salvation, and beyond that he has keen insight into the plays that even I don’t understand sometimes. It has been a dream collaboration, every step of the way.
Michael Guarasci, Alexandra Lee
Why did you decide to ask him to direct Adolescent Salvation? Are the stories or characters similar in nature to your other plays he has directed?
This play has been the hardest and scariest thing I’ve ever done, and having someone I love and trust with it was essential. There’s an adage I like, which is “if you’re going to go up to the bell…ring it.” Working with Guillermo on The Beautiful People gave me the courage to ring the bell. The stories are similar, in terms of the main characters being teenagers, and the play taking place in real time over the course of one night, and, also, he understands the comedy of the plays, as dark as the subject matter can be.
I read about you adapting your play Baby Foot into a feature film. How is that different from writing a play for the stage?
Yes! My producer James A. Heim saw the play at Rogue Machine and approached me about the adaptation. We’ve been working on developing the script for the last year, and we’re now in pre-production on the feature, which I’ll direct starring Hope Lauren and Daniel Dorr, who originated the roles on stage. I write for film/tv, but this is the first time I’ve adapted anything of my own, and especially being so close to something I produced/directed in both NYC and LA, it was a huge challenge in big and small ways. But I’ve found a way to tell a cinematic story of something that has been, and is essentially, a dialogue/character driven story, and really excited to make the film in the same kind of punk rock, indie way we did the play.
Carolina Rodriguez, Michael Guarasci, Alexandra Lee
Tell me about the Adolescent Salvation characters and how they interact with each other to forward the story.
The story is centered around three teenagers on a sleepover. Without giving too much away, one of the girls has a secret that changes all their lives forever. Come see the play to find out! The actors are: Jenny Flack as Victoria, Michael Guarasci as Taylor M, Alexandra Lee as Taylor F, Carolina Rodriguez as Natasha, and Keith Stevenson as Mike McCaffery
Are any of the characters based on teens you have known?
Not anyone specifically. I think all of them are versions of me, honestly. At least in terms of their emotional lives.
Alexandra Lee, Carolina Rodriguez, Michael Guarasci
Have you worked with any of the actors previously?
No! Dream cast. Just a dream. Perfect. HUGE thank you to Victoria Hoffman, our amazing Casting Director.
Have you worked with any of the Rogue Machine production team members previously, either on your own plays or others?
I have worked with Chris Moscatiello (Sound Design), Victoria Hoffman (Casting), and Rachel Ann Manheimer (Stage Manager), each the best at what they do.
Michael Guarasci, Carolina Rodriguez, Alexandra Lee
Did you write the play to be presented in such an intimate theater space with just 33 seats for audience members? And if not, why do you think it’s a better setting for the story?
No! I never think anything I write will be produced. When Guillermo and John said they wanted to do it, I was floored. The space, Guillermo’s masterful staging, and what the designers have done with it, is unbelievable. The thing I love most is that we are in her room. There’s no us/them. It’s just us.
It certainly adds a sense of realism when we enter the room through her closet! There are several moments when you use humor to relieve stressful situations in the play. Is that a typical pattern in your writing?
Michael Guarasci, Alexandra Lee
I think it’s just how my brain works, but whenever I move into an emotional moment, or something that feels like it’s sincere or honest or maybe dangerous, I have a natural inclination of wanting to subvert it. I don’t think about making anything “funny” necessarily, especially in early drafts. It’s always the characters sort of doing what they need to say or do, but I love the surprise (and being surprised) by the very beautiful and human thing of dealing with situations with humor.
Not a specific example, but with Adolescent Salvation, the tone and approach of it is very much showing the way teenagers can go from talking about their parents getting a divorce in one moment, and in the next how much they love Taylor Swift. The dynamic shift feels really funny and honest, I think.
Michael Guarasci, Carolina Rodriguez
Since the play centers around teens, is it filled with adult language and situations or appropriate for all ages?
It’s definitely not for all ages, but we’ve had teenagers come to see previews and they love it. It’s beautiful and deeply moving.
What do you hope audiences will be talking about after seeing it?
I don’t know, honestly. I’m really excited to hear what people have to say. If anything, my aim as a playwright is to try and represent the super complicated and confusing and beautiful and terrible and hilarious and devastating experience of being human. This sounds lofty, but I don’t have answers, and I don’t think plays should have them either.
Are you holding talkbacks to get first-hand reactions from audiences? What kinds of questions do you anticipate getting?
Yes, the dates for talkbacks will soon be announced by Rogue Machine. I have no idea about the questions
Anything else you would like to share about Adolescent Salvation or yourself?
I’m so grateful for the interview! I’m really excited to open the play, and really proud and humbled by the extraordinary work that everyone is doing, and to hear the audience and critical response. Come see!
Thanks so much!
Adolescent Salvation runs at 8pm Fridays, Mondays; 5pm Saturdays, Sundays through October 12, 2025 (no performances on Mondays, September 8, 15, 22). Rogue Machine at the Matrix Theatre is located at 7657 Melrose Ave., Los Angeles, CA 90046. Tickets are $45 – $60 with discounts for seniors and students. Show4Less: Fridays Sept 12 (15+), Sept. 19 ($20+), Sept. 26 ($20+), Oct. 3 ($25+). For tickets and more information, visit https://www.roguemachinetheatre.org/ or call 855-585-5185.
SPONSORED BY NORTH COAST REP