Monday, July 28, 2008

FRINGE NYC 2008

The New York International Fringe Festival (FringeNYC)
August 8th - 24th, 2008:

The New York International Fringe Festival (FringeNYC) may well be the largest multi-arts festival in North America, with more than 200 companies from all over the world performing for 16 days in more than 20 venues - for a total of more than 1300 performances!

Every year there are exciting discoveries plus shows you will see nowhere else!

Home page -- http://www.fringenyc.org/

List of all shows (alphabetical) -- http://www.fringenycdata.com/basic_page.php?ltr=num

Download the program guide (it's big!) -- http://www.fringenyc.org/seeing/pguide.asp

List of shows & ticket purchases from Theatermania (This is a terrific, convenient way to look up, browse and purchase tickets for more than 40 of the the huge number of offerings!) --
http://www.theatermania.com/content/festival_sortable.cfm?festival=15



Volunteer to help out this year -- http://www.fringenyc.org/Vol/volunteers.asp

Get a headstart on performing next year by reading this year's application information--
http://www.fringenyc.org/About/application.asp

Here is some detailed programming information:


@lice in www.onderland
Theater 80 August 15-August 22 Old Campus Productions Dance @lice in www.onderland is a modern dance/multimedia adaptation of Lewis Carroll's Alice's Adventures in Wonderland. The piece explores issues of identity and liveness that arise from society's engagement with the Internet...our www.onderland. Follow Alice on her adventures down the rabbit hole as she encounters various familiar characters and is forced to confront questions such as "Who are you?" "What are you?" and "Where are you going?"


The Alice Complex
Cherry Lane Theatre August 8-August 24 Tall Story Productions and The New York International Fringe Festival Drama Past, present and future collide in this darkly funny, psychological thriller about inspiration and betrayal between two women of different generations.


Anais Nin Goes to Hell
Connelly Theater August 8-August 24 Maieutic Theatre Works Comedy MTWorks presents the world premiere of David Stallings' Anaïs Nin Goes to Hell. Anaïs Nin goes to Hell will play a limited engagement as part of the 11th annual New York International Fringe Festival. Imagine an island in hell where Cleopatra, Joan of Arc, and Queen Victoria...wait for their men. What happens when women's lib icon Anaïs Nin arrives to turn their afterlife upside down?


Becoming Britney
The Theatres at 45 Bleecker Street August 8-August 24 Endless Supply Productions Musical Comedy How does a pop sensation wind up bald and trapped in her own musical? Becoming Britney is a caustic (but loving) PG-13 fable that chronicles the rise...the dip?and the salvation of a foolhardy celebrity phenom. The show features six kick-ass actors and eleven original songs that pay snarky homage to multiple musical theatre genres. Are you ready to face your inner Divas, y'all?


But for the Grace...
Walkerspace August 8-August 17 FringeNYC Drama
Solo Performance
Play But for the Grace... tells the stories of the people who are forced to rely on food pantries in order to put food on their tables, putting a true face on hunger in the US.


Control
The Studio at Cherry Lane Theatre August 14-August 22 New York Artists' Community Play Hold on to your remotes!! When vertically-challenged and sexually confused Brady gets fired he's forced to move in with loudmouth college dropout Holly. Together they crash into a quarter-life crises leaving them susceptible to the manipulation of bizarrely accurate infomercials. Radio, News Paper, Magazine, Internet, Television?CONTROL takes a hard humorous look at the media's role in the rise of anxiety disorders among America's youth.

Creena DeFoouie
Cherry Lane Theatre August 15-August 23 Ruby Bloomsbury Theatre Comedy
Musical
Mystery/Thriller Welcome to the home, retreat, boudoir of the vampish Creena. Her unique counseling services help half-wits who lack harmony and hormonal balance. Mental patients go missing---a case for extraordinarily well-endowed Superintendent Russell Hardon? AB FAB meets ADDAMS FAMILY by way of ROCKY HORROR! A two-man trip created and performed by UK siblings Charlotte Barton-Hoare and James Hoare.


Cruising To Croatia
Bleecker Street Theatre August 8-August 24 Onisland Communications Musical Comedy Mark and Teddy, a couple of goofy blind guys pose as musicians on a cruise ship to search for Teddy's new love, a seductive internet voice.


CYCLE- A Vaudeville Comedy
Spiegeltent August 9-August 23 WILTSIE BRIDGE PRODUCTIONS and OFF THE LEASH PRODUCTIONS Vaudeville Critics rave: "Hilarious!", "picture perfect", "A luscious, enjoyable show." A desperate New Yorker has one day to find the "Secret Of Success" in this whirlwind comedy with eight actor/musicians playing over 70 roles. CYCLE features live accompaniment on the piano, accordion, guitar, flute, fiddle, slide whistle and more. From Shakespeare to soft-shoe, it's a charming, retro dream.


The Deciders
Michael Schimmel Center For The Arts, Pace University August 16-August 22 Within Reach Entertainment Musical Power! Patriotism! Propaganda! The Deciders is about power -- those who have it and those who want it. Mitch Kess' driving rock score reveals in song and satire the secrets, dreams, motives and misinformation of those who make the decisions and those who live with the consequences from the Washington Power Elite to Baghdad and beyond. Directed by J. Michaels. Music direction by David Fletcher.


Eggs and the Rebound Guy
CSV Flamboyan Theater August 8-August 23 2 Little People Productions Comedy A comical, yet heartrending story of Dru, a single thirty-something, disenchanted with the dating game, who sets out to have a baby on her own. When she meets Terrence, a handsome new prospect, she must decide if she really needs Mr. Right to have a baby.


The Fabulous Kane Sisters in Box Office Poison
Cherry Lane Theatre August 9-August 22 Red Light District in association with Stephen Morfesis Comedy It is 1956, in Pocatello, Idaho, and murder, mayhem and muscular bodies fill the stage as the Fabulous Kane Sisters attempt to solve a mystery and prevent their own murders in this bawdy, burlesque comedy. It's like a trip through the sewer in a glass bottom boat!


The "Gay No More" Telethon
Michael Schimmel Center For The Arts, Pace University August 8-August 24 The Fringe Festival Musical Comedy Reverend Wiley Ray Henderson's Religious Broadcasting Network presents The "Gay No More" Telethon. Your generous contribution will help turn every homosexual straight by the Rapture or the 2014 Winter Olympics ... Whichever comes first. "Let's Get One Thing Straight ... You!" - Comedy Musical


GEM! A Truly Outrageous Parody!
Barrow Street Theatre August 9-August 23 Musical Comedy Based on one of the greatest animated, dual-personality songstresses of the Me Decade, our Gem and her band, The Holographs, must enter a battle of the bands against their archenemies, evil Spizazz and the Misfires. Will rock-n-roll, hope, and a talking hologram machine be all she needs to win?


George the Fourth
Players Theatre August 9-August 20 Michael T. Middleton Comedy
Drama
Play Diana's fiancé thinks he can outduel her estranged, acerbic parents with one simple weapon: Honesty. But nobody is quite prepared for a dead coyote in a Santa hat to sabotage their agendas and become the center of every argument. With a comedy this dark, what else is there to say but "Pass the scotch"?


The Golden Aurora
Bleecker Street Theatre August 16-August 23 Working Artists Theatre Project Drama The Golden Aurora is a modern fable about an unusual love affair. When Ned, a veterinarian's helper, falls in love with a rare and beautiful dog, his Midwestern town is turned upside down. Rejected by people closest to him, Ned becomes an outcast. In this haunting tale, we learn that when love runs deeply, there is no knowing where the human ends and the animal begins.


The Grecian Formula
45 Bleecker August 8-August 22 Followspot Entertainment Comedy Commanded to write the world's first drama, Homeric celebubard Thespiotis orders his servant, Alidocious, to ghost-write it for him. And so the witty slave does write on cue, though mayhem, masks, and choral odes ensue in this new play about the backstage comedy behind the first drama.


Green Eyes
Theater 80 August 16-August 23 Musical The new musical, green eyes tracks the rise and fall of a relationship through folk-rock music and modern dance. A contemporary love story, green eyes utilizes two singers, two dancers, and a five-piece orchestra to fuse both song and dance. Featuring Nick Blaemire (Cry Baby, Altar Boyz), Celina Carvajal (MTV's "Legally Blonde: The Search for Elle Woods," Cats), Ryan Watkinson (Movin' Out, Xanadu), and Melissa Bloch (Leopold Group).


Heaven Forbid(s)!
The Jazz Gallery August 9-August 16 Martice Enterprises Comedy Life's a bitch, then you die! The ultimate multi-cultural experience! Outcast souls-pimps, transgender, and others, convene in "purgatory" to convince the man upstairs to let them in. Heaven doesn't want them and hell is at capacity. God and the Universe appear as a cholo gang-banger and a 60's bohemian love child. It's comedy from beyond! 2007 Dallas/Fort Worth Critic's Award Winner for Outstanding New Play.


I Heart Hamas: And Other Things I'm Afraid to Tell You
The Players Theatre Loft August 8-August 24 Jajeh & Co. Comedy
Solo Performance

I Love You, Petty, & Favre
Barrow Street Theatre August 8-August 23 Scott-Works Productions Comedy
Drama
Play She had the name of a football legend, he had Tom Petty concert tickets. It was a match made in heaven. For anyone that has loved, lost, persevered, or played air guitar... a heartwarming tale of life, family, football, and runnin' down a dream.


III
Cherry Lane Theatre August 13-August 23 joes & co. Drama Playwright and director Joe Salvatore tells the true story of an all-male ménage-a-trois set in the first half of the twentieth century and based on the real lives of George Platt Lynes, Glenway Wescott, and Monroe Wheeler.


KABOOM!
Cherry Lane Theatre August 9-August 23 Red House Group/Joan Cullman Productions Comedy
Play
Farce It's the tale of San Francisco's wiliest crook, who plans to cash in on the ultimate rip-off: a drug called Krokk that may extend orgasms up to 37 minutes. When his stash is accidentally destroyed, he has one day to recoup his losses and get out of town. As he rakes in cash from his many other con jobs, it seems as if nothing can stop him -- except maybe a neurotic New Yorker, a kazoo virtuoso, a loopy bike messenger, and an act of nature.


La Vigilia (the Vigil)
Connelly Theater August 13-August 23 TEATRO OSCURO Comedy A sly Italian comedy of manners, La Vigilia refers to the Christmas Vigil feast celebrating Christ's birth, when feuds are settled, strangers are welcomed and love is served in equal measure with the food. Romantic complications ensue when a mysterious stranger shows up at the dinner of a rich noblewoman. Is he her long lost husband or an errant con man? Set in Post-World War II Italy, La Vigilia is a story of passion rediscovered and reclaimed.


The Legislative Process
Schaeberle Studio Theatre at Pace University August 10-August 23 The Six Chapter Company Play Dexter is thrilled to be spending his junior year in Washington as a congressional page. But he discovers that Capitol Hill is not so different from high school. For one thing, only the pretty boys seem to get ahead.... Could you "make it" in Washington?


Mourn the Living Hector
CSV Flamboyan Theater August 14-August 23 Performance Lab 115 Drama Winner of two Fringe Excellence Awards, PL115 returns to the FringeNYC to investigate wartime violence on the home front, interweaving the Trojan hero's last day with the home-leave of an American Marine; a comedic tragedy of ambient violence, failed connections, and unexpected happy-endings.


Murder of the Seas
The Jazz Gallery August 8-August 24 Murder Company Mystery/Thriller Want to see the sordid underbelly of the caribbean cruise industry? Neither does recovering alcoholic Chester B. Fields. But he doesn't have a choice. He's got to find the body, solve the murder and get the girl without ending up in the drink.

Not Dark Yet
Walkerspace August 13-August 22 Present Tense Productions Play Tom has a big hairy muse named Norman who's wrecking his life. When Norman shows up in a tutu and feeds his doubts about his marriage, Tom realizes that a writer can pick his friends, pick his wife, but can't pick his subconscious.


Now That She's Gone
SoHo Playhouse August 12-August 22 EMP Theatricals Comedy
Drama
Solo Performance Now That She's Gone is a tremendously personal, yet universal journey of self-discovery & parental relationships as seen through the filter of a feminist activist. Politics aside, the relationship of mother to daughter is explored in a real & grounded way that speaks to audiences of all backgrounds, political philosophies & cultures. The show represents a slice of American history as well as a personal story with which the audience can relate.


the october crisis (to laura)
Players Theatre August 8-August 18 Packawallop Productions, Inc Drama 1962. Spy planes uncover missiles in Cuba and a cryptic telegram uncovers painful memories for singer Marguerite Stone. Contacted by her estranged son, Marguerite is transported back to a choice she made around her debut. An efficient assistant, her suspicious lawyer and a repertoire of her songs performed by her younger self force Marguerite to face her past decisions and reunite with her son.


Operation Adelmo
Spiegeltent August 8-August 20 G&W, LLC Vaudeville Live entertainment for the YouTube generation filled with music, magic, singing, showgirls, clowns, kazoos, Rice Krispies, Bugs & Elmer, toreadors, accordions, banjos, ukuleles, guitars, razors, and pie! Starring Adelmo Guidarelli, the voice New York critics have compared to "Ettore Bastianini and Robert Merrill". He has played to standing ovations all over the world, including New York, Las Vegas, Rome, and of course, New Jersey. www.OperationAdelmo.com.


Panopticon
The New School for Drama Theater August 13-August 23 Glass Slipper Solutions Drama
Mystery/Thriller
One-Acts Trapped in a sinister prison known as the Panopticon, Patrick is stripped of his identity to become prisoner 67401. In his cell he is confronted by the demons of his past only to realize the true nature of his incarceration.

The Permanent Night
Barrow Street Theatre August 9-August 22 Imago Film Productions Drama New York City. Blackout. Secrets and betrayals illuminate the flaws of a wealthy couple's seemingly perfect marriage, a first encounter sheds light on the scars of a young woman's past, and the night leaves an indelible mark on them all.

Raised by Lesbians
Barrow Street Theatre August 9-August 21 Geek Ink Comedy Joe is 16. He can't decide whether to live with his mom or his dad. Meanwhile, his best friend Gracie puts him at the center of her silent movie, and his step-mother quilts everything that isn't nailed down. His dad is badgering him about his manhood. His mom has a new girlfriend. Joe isn't sure if other kids call him names at school because his mom is a lesbian, or just because they think he's a dork.

Salt Lake, a New Ballet
The Lafayette Street Theater at The Theaters at 45 Bleecker August 20-August 24 Virgin Dance Dance Theater Salt becomes a metaphor for desire and passion in Vicky Virgin's new dance creation, Salt Lake, a New Ballet in 3 Acts


Sex, Cellulite and Large farm Equipment: One Girl's Guide to Living and Dying
The Jazz Gallery August 13-August 21 River Huston Productions Solo Performance River Huston, stand-up comic, award winning poet, sex columnist, former aerobics instructor, musician, pot farmer, dominatrix, armed robber, takes a humorous look at her life experiences including an arrest for obscenity, running a marathon, marriage, financial ruin, surviving two terminal illnesses, and several unexplained rashes. If you have had a bad day or bad decade River will help you laugh at life's challenges.


Shots: A Love Story
The Lafayette Street Theater at The Theaters at 45 Bleecker August 9-August 17 Progressive Theatre Workshop Experimental HER, HER AGAIN, and HER ONCE MORE are beaten to a bloody pulp by HIM... repeatedly. These three women find themselves trapped in the chaotic and wet world that is their addiction. Bullets fly and vodka drenches. Direct from two sold out runs in the Phoenix desert, SHOTS is an addictive, assaulting, soaked, and sometimes humorous look into the psyche of an addict.


Strange Attractor
Spiegeltent August 10-August 23 The Present Company Interactive
Solo Performance
Magic Show STRANGE ATTRACTOR is an interactive theatrical showcase of Magic and Mystery - Willy Wonka meets Hitchcock! Witness extraordinary phenomena! Help Imagination Man Marco save the world from the mundane! Defy the skeptical scrooges and partake in strange occurrences! Witness incredible feats of mind-reading, teleporting, and other interactive feats with Marco, a Magic Man out to save the world... and the world beyond! 60 minutes


Thoroughly Stupid Things or The Continuous Importance of Being Earnest
Bleecker Street Theatre August 10-August 23 Whirled Peas Productions Comedy
Play In this sexy, new sequel to Oscar Wilde's The Importance of Being Earnest, Gwendolen and Cecily go undercover as attorneys Ernest and Ernest to find out why Jack and Algernon spend so much time at the local men's club. When they meet alluring cabaret singer Bibi LaFlam and a menacing French Inspector, the ladies get more than they bargain for in this thoroughly "Wilde" comedy.


Tough Guys Don't Shoot Blanks
Barrow Street Theatre August 11-August 21 Grayce Productions and FringeNYC Comedy Join Skip and Dottie, hosts of the 1950s television show "Cinema Cavalcade," as they unearth another action-packed gangster flick. Can fist-swingin' copper, Chick Donahue, squash the crime and corruption on the streets of New York ? Will on-the-lam Lefty find his hard-boiled sis before mobster Sonny Rocco rubs him out? A parody-within-a-parody, Tough Guys Don't Shoot Blanks delightfully sends up two genres of yesteryear.


Traffic Jam
SoHo Playhouse August 9-August 22 Sumo Productions Comedy In Traffic Jam, Cassie, an absolute train wreck, waits for Death to arrive in a hospital waiting room. She wishes to assume the mantle of the strong woman in her family, and slay her monster grandfather if Death will not do his job. Cassie is absolutely convinced that he is stuck in traffic. She meets Gary, who (like everyone else in her life) betrays her.


Trees Like Nails
Schaeberle Studio Theatre at Pace University August 8-August 20 Maggie's Farm Theater Company Comedy
Drama
Mystery/Thriller Sex. Drugs. Death. Slurpees. Trees Like Nails follows two brothers who find the mutilated body of a girl in the woods. Over one night, six small-town teens are covered in the trail of blood. Brazenly revealing danger at the heart of growing up, Snider's play challenges us to look inward for answers. A dark coming-of-age tale about drinking and dealing in the suburbs.


Triumph of the Underdog
Schaeberle Studio Theatre at Pace University August 8-August 12 Triumph Team Solo Performance Geeks! Dorks! Fanboys! Lend your pointed ears! Peter Howell's mind-bending lecture speeds through the history of Science Fiction -- from Mesopotamia to Star Trek in twenty minutes -- and might just save your life. Can the washed-up author really prevent an astronomical catastrophe threatening to annihilate the entire solar system?


Velvet Scratch- Voyage of No Return
Barrow Street Theatre August 8-August 13 Theatre Lab Company Performance Art Unwanted souls and their dark stories: Victorian vampires, velvet hearts, strawberries, piercing needles...the voyage begins. A gothic musical with macabre humour, powerful images and theatrical animation. "Wildly experimental theatre, spellbinding to the last second; a weird little gem" *****Skinny Fest, Edinburgh 2007; " Imagine Tim Burton directing Gabriel García Marquez?.The level of invention is breathtaking, the whole is bloody beautiful" Prague Post, 2007.


Walls
Cherry Lane Theatre August 12-August 17 New York Rep Comedy A couple wakes up and finds a WALL splitting their house in half. The furniture, the bed, even the fish are severed in two. On the night of their anniversary, the confrontation begins and the secrets come out?


Woodhull: A Play About The First Woman Who Ran For President
Michael Schimmel Center For The Arts, Pace University August 9-August 15 Elephant Ensemble Theater Drama Based on a very true story, this play tells the true story of Victoria Woodhull, an outrageous and revolutionary former prostitute who--with a platform that included abolition of the death penalty, legalized prostitution, and free love--was the first woman to run for President in 1872.


ZOMBIE (world premiere)
The Players Theatre Loft August 9-August 21 Razors Edge Drama "I'm not Jeffrey Dahmer. I'm Quentin P. They say I murder, torture, and rape young boys. That's not how I see it. I'm trying to create a ZOMBIE. Join me. I'll tell you my side of the story." A sexual psychopath tries to create zombies to fill his every need. From one of America's greatest storytellers, best-selling author Joyce Carol Oates.

Tuesday, July 22, 2008

EMERGING WRITER'S GROUP AT THE PUBLIC


The Public Theater
is now accepting applications for the 2009 Emerging Writer's Group.

Playwrights in the Writer's Group will:

--Receive a stipend of $3,000
--Participate in a biweekly writers group led by The Public’s Literary Department
--Receive at least one reading at The Public
--Participate in master classes led by established playwrights
--Observe rehearsals for productions at The Public
--Receive an additional stipend for theater tickets to productions at other theaters
--Receive complimentary tickets to Public Theater shows, invited dress rehearsals and other special events
--Receive career development advice from mid-career and established writers
--Receive artistic and professional support from the literary department and artistic staff.


This sounds like a tremendous opportunity for new playwrights!

Applications will be accepted through August 29.

Details and application information are available at:

http://www.publictheater.org/content/view/88/155/

Sunday, July 20, 2008

OLD BROADWAY THEATERS

I was just recently in one of those old Broadway theaters. It was terrible. It's time to shut those old theaters down and re-build them all.

The seats are too narrow. Were people all skinny when they were built? (Probably yes.)

There were few stalls in the ladies' room and not much more in the men's room. Did people pee less in the old days? (Probably not, so why did they build the bathrooms so small?)

And the rows of seats were not very well raked, making any tall person in a row ahead a serious obstacle.

New theaters, in addition to being more comfortable, and possible safer (who know what lurks in those old floors and walls?) could be roomier in a way that would allow more creative concession income. It's too crowded now to sell anything efficiently.

With an evening at the theater for two (tickets, not to mention transportation, parking, and possibly a restaurant) running into the hundreds of dollars, patrons deserve a pleasant experience in every way (including a quick trip to the bathroom at intermission + something from the vending concession without missing the start of the next act). They may also be interested in a significant souvenir from the show (especially since -- with the falling dollar -- more and more of the visitors are here on a big trip from some other country).

While many shows do sell a program... or shirts and caps... or other items, the poor marketing display and inefficiency of making a sale in the crowded old theaters means the show is probably giving up the possibility of significant additional revenue.

It seems to me that these uncomfortable old theaters are doing a disservice to Broadway (by discouraging people who were uncomfortable in one show from going to another show); a disservice to the audience (which deserves a better experience); and a disservice to themselves (for giving up income from concessions) .

Lets give a big cheer for each new theater that arrives!

Monday, July 14, 2008

THE BACCHAE

Alan Cumming & The Bacchae
From the2008 international tour of The Bacchae
National Theatre of Scotland
Photo credit: Rhuary Grant


The Bacchae of Euripedes dramatizes themes and issues that are as important today as they were 2500 years ago, and does so with a style as modern as if it were just written.


In fact, The Bacchae was written in about 407 BC (2008+407 = 2415 years ago) and had its premiere, some two years later, about a year after Euripedes died, posthumously winning first prize at the Dionysia.


The play was written in Greek Macedonia where Euripedes had moved from Athens (on the invitation of the King of Macedonia) about a year before writing the play.


It is helpful to understand some of the background of the creation of the play: the world as seen from Athens in 407 BC. It was written during the Peloponnesian war between Athens and Sparta, and war was coming to a climax. It was a bitter conflict. In addition to the dangers of war, politics in Athens were very unstable. Among other events, for example, a coup, about 3 years before Euripedes’ departure from Athens, overthrew the Athenian democratic system in favor of oligarchic rule by a group of 400 prominent and wealthy Athenians.


In Macedonia, Euripedes was removed from danger and from the politics. Also, it has been suggested that he was exposed to Dionysian Mysteries and rituals in Macedonia which were much more intense than the -- rather tame -- ceremonies in Athens.


The play takes place in Grecian Thebes in ancient times. During the Peloponnesian war, Thebes was Athens’ enemy, allied with Sparta. Thebans may also have been regarded by Athenians as a bit dense or stupid.


Persia, Lydia and Phrygia, which are described as the lands from which Dionysus has just arrived from the East, were important kingdoms when the play was written. Lydia and Phrygia lay Northeast of Athens in what is now Turkey, and in the direction of Persia, which had, not long ago, attacked Greece, but had been repelled.


The Bacchae is a very powerful play. The conclusion is very shocking, and the developments that lead to the conclusion are very theatrical, with both humor and spectacle, and an ever-present suggestion of sex.


Much of the power of the play is that is not a perfect play. Most productions of the play seem to succeed on one level, and yet be incomplete and unconvincing on some other level. It touches on many themes, but is not a simple exposition of any one. Given any interpretation, it could equally be taken to support a different or even opposite interpretation. The freedom of directing the play from any one of many thematic emphases is part of the reason the play is often presented, and often presented at a time of national stress, when one or another of the issues with which it deals become matters of popular relevance and importance.


There is also the issue of language. Ancient Greek drama is said to have been written in a form of poetry which has strong rhythm (without rhyme). Last summer I saw and heard Euripedes’ Medea at Cambridge University in England presented in Ancient Greek. The sound of the language was a revelation. Without understanding the language (but following along: a running translation was provided on an overhead screen), the beauty and power of the sound of the language was evident.


(Note: Cambridge produces a play in Ancient Greek every three years (in years divisible by 3). Oxford also produces a play in Ancient Greek every three years and will be presenting Aeschylus’ Agamemnon, (the first play in the Oresteia trilogy) in Oxford in mid-October this year. It will be directed by Claire Catenaccio who has just graduated with numerous honors and prizes from Harvard, directing and studying ancient Greek drama. I recommend a visit to Oxford this fall! )


There has been a major production of The Bacchae playing in a theater in New York: The National Theatre of Scotland at the Lincoln Center Summer Festival. And at least one more is in development. Later this year, JoAnne Akalaitis is scheduled to present a production at The Public Theater.


Some of the fundamental themes of the play are:

Sexual

=> Androgyny and possible suggestions of homosexuality
=> Sexual, spiritual and emotional liberation and freedom
=> Empowerment of women
=> Spiritual liberation


Religious

=> The need to honor a god
=> The cruelty of a god
=> The history and true nature of the god of wine


Political

=> The need for a government to respect the laws of human nature. Here, the human spirit and the need for liberty is embodied in the god Dionysus. (Note: This is directly suggested in the play by Tireseus, and takes as implicit the notion that a Greek god is an embodiment of some aspect of human behavior, and worship of the god is respect for the corresponding laws of human nature.)
=> The attitude of the chorus to the events
=> The conflict between a liberating political movement and a repressive political government, and the notion that a liberal movement can turn vicious when it meets with excessive resistance
=> The importance of moderation=> The need to honor both the stability of law and the liberation of the spirit
=> The fall of a government when it does not pay due respect to the gods
=> The hypocrisy of those who repress sex in others but secretly lust themselves; and the hypocrisy of those who profess liberation, but when they are challenged become more cruel and repressive than the repressors; (This theme of hypocrisy could also have been listed under the sexual themes!)


Familial

=>The difficulties of family relationships, especially in the ruling class


That is quite a load of themes, any of which can be the basis for an interpretation.


In addition, the play has humor, violence (which is off-stage in the text, but can be brought on-stage by the director), magic, special effects, drugs (alcohol at least), madness, tragedy, cross-dressing, music and dance. And any of these can be the stylistic basis for an interpretation.


None of these themes or styles are developed completely enough in the script to determine the obvious, completely satisfying interpretation; each one of them competes for attention when any other is taken as the primary focus. That is one reason why the play is a failure, and why it is an enduring success.


The director, John Tiffany, of the Scottish National Theatre presentation at the Lincoln Center Festival has taken as his primary interests the cross-dressing, androgynous nature of Dionysus, and the musical and visual potential of the chorus. Stylistically, he emphasizes the theatrical spectacle, and humor. Serving these decisions, Alan Cumming as Dionysus is terrific; the rest of the cast somewhat less so. Cal Macaninch as Pentheus, the ruler of Thebes, and the primary antagonist to Dionysus, is simply not a strong enough presence to challenge Cumming in a dramatically effective way. Paola Dionisotti as Agave and Ewan Hooper as Cadmus, Pentheus grandfather, are not dramatically powerful enough in the final scenes.


There are many terrific elements in this production, and many things that don’t go quite right.


Among the most effective elements of this production are:

=> The special effects and spectacles, especially the initial entrance of Dionysus
=> The clarity of the production in the script, the direction and the acting, making it always possible to understand the characters’ meaning (when you could hear them – the volume level was a bit low and with traces of Scottish accents and a strange play, not all the words were clear)
=> The costumes, which were colorful, bold and interesting, especially effective at making the first entrance of each character exciting
=> The choral music and dance which had a gospel style and nice melodies
=> The comedy
=> And the effective delivery of an interpretation which stressed the androgyny and sexual identity issues in the play.


The clarity of this production probably stems in part from the manner in which it was created. First a literal translation of the play was created by Ian Ruffell. Then a writer, David Greig, was commissioned to turn the literal translation into a play that directly served the director’s interpretation. The script was neither archly old fashioned, nor jarringly modern (two problems most scripts fail to avoid), but seemed ideally suited to the director’s intentions.


Some things were not so effective:

I’ve already mentioned the weak supporting cast, and the low volume sound design, which made words difficult to understand, (a particular problem when the chorus was singing, since the text of what they say is important to the development of the play’s themes).


Although the costumes were stiking and impressive, most characters wore the same thing throughout the show, so that the visual excitement began to fade. I also found the costume design somewhat confusing: some of the costume choices seemed wrongly conceived. This play is set in ancient Thebes, yet the clothes are conspicuously modern and not-Greek. When Cadmus and Tireseus set out for the mountain to join the maenads, they seem to say that they are in fawnskin (or soon to change) and they are carrying the thyrsus; but they are dressed in tuxedos with strangely decorated hats and carrying walking sticks. I also thought Pentheus could have used a uniform or other clothes that marked him as the king-- to give him more gravitas in his encounters and conflicts with Dionysus.


One special effect -- a huge bank of spotlights aimed at the audience -- seemed both pointless in terms of the play, and dangerous to the audience’s eyes.


The play takes place in one location, near Pentheus’ palace. This production sets it firmly there, and never tries to even suggest the licentious behavior of the maenads in the mountainous forest. Only the bacchae that came with Dionysus from the East are seen. Portrayed as gospel-like singers, these women in the chorus seem to have no visceral connection to Dionysus, and there is no chemistry between them and Alan Cumming. So the whole element of the liberating nature of the god of wine, of the Bacchic mysteries, is almost completely lost.


But the main weakness of the production is that it did not do justice to the tragedy of the play. Aside from the weak acting by the two main characters in this section of the play, the use of a patently fake plastic or rubber head was a disastrous dissipator and destructor of the tension, surprise and horror that should characterize the climax of this play. Agave does not treat the head as the lion’s head she believes it to be, or as any important object at all. It has no reality because of the way it is carried and treated by the actress. In addition, it is introduced too early. There are specific lines in the play which seem designed to be the ideal place to make the reveal, to maximize the shock value and horror of bringing on-stage the severed head of her son, which she believes to be the head of a lion she has killed. Displaying the head earlier dilutes the intensity of the climax.


While the play can be presented in many ways, for me the most brilliant and modern and lasting insight in the play is its depiction of the nature of the political cycle of (1) a movement of liberation, then (2) attempts at repression and then (3) a counter reaction or co-option of the liberation movement with radical violence. It is, for example, the story of the French Revolution; and we saw it in the sixties in the journey from Woodstock to Altamont. It happens in big ways, and it happens in small ways, and it is a cycle that we must always beware of.


The Tiffany version from Scotland, as we’ve noted, stresses other themes, which the director has said he has been interested in for 20 years. For even longer than that, I’ve wanted to do an adaptation that stresses the political elements of the story, especially this issue of achieving liberation without descending into violence. I hope some day I get to do that!!!


The National Theatre of Scotland has brought to life The Bacchae in one of the many ways it’s possible to experience this extraordinary drama. Despite some faults, I highly recommend a visit to this production wherever in the world it may travel to, for its spectacle and theatricality, its clarity, humor and, given its intentional focus on the themes of androgyny and sexual identity, its success in accomplishing what it set out to do.

Thursday, July 3, 2008

FOOD OF LOVE - SHAKESPEARE & CHARDONNAY

Long Island Wineries Serve Up Shakespeare & Chardonnay with
FOOD OF LOVE
July 11 & 12


This July, two Long Island wineries will serve up FOOD OF LOVE, a light-hearted look at love with words by William Shakespeare and wine by the glass.

Produced by Spitfire Theatre, this unique theatrical experience is created and directed by Abigail Anderson, an English director who has worked at Shakespeare's Globe in London and the Royal Shakespeare Company. Anderson has been described by The Oxford Times as "one of the most exciting and eclectic young directors in the UK."

Laugh with Benedick and Beatrice, sigh with Romeo and Juliet, get steamy with Petruchio and Kate! FOOD OF LOVE brings together some of Shakespeare's most romantic love scenes, songs, and poems in a specially created show for some of Long Island's most picturesque outdoor locations.

Audiences will have the chance to sample the local wines as part of a relaxed summer evening, in addition to exploring the vineyards and enjoying the show.


Director Abigail Anderson says, "The beauty of Shakespeare's language is perfectly complemented by the beautiful surroundings of Long Island's wineries. We're delighted to have the chance to perform here and, in doing so, throw the spotlight on to the flourishing wine-growing community on the North and South Forks."

The 50 minute performance showcases the talent of four professional actors, all experienced Shakespearean performers, who will move in and around the audience to create an unforgettable and intimate theatre experience. The cast is: Khris Lewin, Adam Mastrelli, Amy Prosser, and Laura Rikard.


FOOD OF LOVE is the beginning of a long term project by Spitfire Theatre to bring high quality, accessible and inspiring Shakespeare performances to Long Island.


Performances will take place rain or shine as follows:

Friday, July 11 at 7:00pm
Palmer Vineyards in Aquebogue, Long Island
Located at 5120 Sound Avenue Aquebogue, NY 11931

Directions: Take the LIE to last exit (exit 73). Continue east on RT 58 to Osborne Ave. Turn left. Drive to end (Sound Ave). Turn right. Drive 6 miles to Palmer Vineyards, on the left.


Wine writer Howard Goldberg once described Palmer as, "Long Island's most important winery." Palmer wines are sold in many states across the country and can be found in many top restaurants such as Gallaghers Steak House, Fultons Crabhouse, The View Restaurant, and many more.


Saturday, July 12 at 7:00pm
Castello di Borghese in Cutchogue, Long Island
Located at 17150 County Route 48, Cutchogue, NY 11935


Directions: Take the L.I. Expressway I-495 to Exit 73 toward Greenport/ Orient. This is CR-58. Follow for 2 miles until reaching roundabout. Take 2nd exit off roundabout, continuing on CR-58. Turn left onto Northville Turnpike/CR-43 at traffic light. Turn right onto Sound Ave. at stop sign. Castello di Borghese will be approximately 9 miles on your right.

Winner of "Best Winery" Editor's Choice Award from Long Island Press. Borghese Vineyard has the oldest vines producing the finest wines in this winemaking region. Pinot Noir and Sauvignon Blanc are their signature wines, along with many award winners including Meritage and Chardonnay.



All tickets are $55.00 in advance and $60 at the door. Tickets are available at http://www.theatermania.com/ or toll-free 1-866-811-4111.

Doors open 30 minutes prior to each performance.

For more information visit http://www.spitfiretheatre.com/.