January 2026 - Extras: Albuquerque Little Theatre presents The Children's Hour

Albuquerque Little Theatre takes on the controversial play "The Children's Hour."

Albuquerque Little Theatre is kicking off the new year with a production certain to spark conversations across the city. The Children’s Hour, opening soon, is a gripping drama that explores how a single lie can fracture relationships, destroy reputations, and unravel lives. It’s a bold choice—one rooted in truth, tension, and uncomfortable relevance—and it’s exactly the kind of material ALT continues to champion.

Actor Alexandra Avila, one of the performers bringing this story to the stage, says the theatre’s mission feels more crucial than ever. “Albuquerque Little Theatre understands that one of the most important missions of theatre is to be a witness to one another’s stories,” she explains. “Especially stories within our own community and the stories that touch us.”

She notes that in a climate where some theatres are thriving, and others are fighting to stay alive, ALT’s commitment to storytelling stands firm. “I feel like as long as we all keep making theatre, certain voices, certain administrations cannot prevail,” she says, emphasising that art has always been a counterweight to suppression—and a reflection of community resilience.

The story at the heart of The Children’s Hour was groundbreaking when Lillian Hellman wrote it in the 1930s and remains shockingly relevant nearly a century later. Set in a boarding school during the Great Depression, the play follows two educators—Karen and Martha—whose lives are upended by a student named Mary. Vindictive, manipulative, and dangerously cunning, Mary spreads a rumour that the two women are romantically involved, a lie that spirals into devastating consequences.

Avila sees the casting of Mary as a rare opportunity that many young performers are denied. “So often female and non-male actors are denied the opportunity to play a true villain,” she says. “And Mary is a true villain. Facts.” That emotional punch is part of what makes the piece so compelling. Audiences won’t just witness the fallout—they’ll feel it.

The play is rooted in another time, but the themes feel eerily modern. Avila draws a direct line to today’s world of digital distortion, instantaneous rumour cycles, and manufactured “truth.” “With the development of technology—including AI producing deep fakes—it makes us feel as though our words mean less,” she explains. “When our words are sometimes the only things that can go out and speak on our behalf.”

That connection—between whispered lies in 1934 and viral misinformation in 2026—is precisely why she believes now is the moment for this story. “This show demonstrates what happens when somebody is flippant with the truth,” Avila says. And the consequences, then and now, remain equally devastating.

Beyond its themes, Avila believes audiences will enjoy watching complex female characters collide over something other than romance. “I think audiences are really going to enjoy genuine conflict between female characters that isn’t over a guy,” she says. “And I also feel like this is a very dynamic and wonderful cast.”

She credits director Marc Comstock for his thoughtful approach to shaping the material. “Marc is very conscious of the ideas that are going on in this show,” she notes. “He’s creating a very safe space, especially for the women, to play with the dialogue and play with the story.” When a show tackles sensitive subject matter, that safety becomes essential—not only for performers, but for audiences navigating the emotional terrain alongside them.

With a tight run scheduled from January 30 through February 8, The Children’s Hour promises to be a powerful start to ALT’s season—one that invites audiences to reflect on truth, harm, complicity, and the fragile line between rumour and reality. Tickets and information are available at albuquerquelittletheatre.org.

If early buzz is any indication, this production will get Albuquerque talking—not just about a lie told in a 1930s boarding school, but about the consequences of the stories we choose to tell now.