MRT ONE ACT PLAY FESTIVAL SUBMISSIONS

MANHATTAN REPERTORY COMPANY

Seeks Original One Act Play Productions

Between 20 & 90 Minutes

For MRT's WINTER ONE-ACT PLAYFEST

January 30 - March 27, 2011

Creative Team leaders should email their play production submission which includes:

the complete play,
the synopsis of the play,
the running time,
set and lighting requirements,
the play's production history (if it has been produced before),

and a production team leader contact email address, to:

manhattanrep@yahoo.com

by Wednesday January 12, 2011.

There is NO submission fee.

Applicants will be notified by January 14, 2011 by e-mail as to their acceptance.

NOTE:They are seeking fully rehearsed PRODUCTIONS of original one act plays to be performed in the play festival, NOT scripts.

NO PAY. NON-UNION.

FOR THE DETAILS (and there are many, IMPORTANT! details), SEE

http://www.manhattanrep.com/page48/page48.html

MOXIE STREET PICTURE SHOWS - COMPANY LAUNCH

A friend of mine, Katie Fabel, is helping organize the LAUNCH PARTY & HOLIDAY GALA for a new theater group, MOXIE STREET PICTURE SHOWS.

From the look of the company, and the fact that Katie (a terrific actress, equally wonderful in everything from Shakespeare to farce to musical comedy) is a member, I expect that this is a group worth knowing.

She writes...

It is an event to establish an exciting new theatre company
Moxie Street Picture Shows
fun free festive fantastical occasion, with lots of networking
FREE admission & FREE entertainment & FREE food & CASH BAR!

SUNDAY, DECEMBER 5, 8:00 PM


For all the official information...

http://www.moxiestreetpictureshows.com/

CASTING NOTICE FROM LES MANOUCHES

Here's a very interesting casting notice for a very interesting play from a very interesting company...

"Les Manouches recently received a grant from La Guardia Performing Arts Center to stage Brian Friel's play Molly Sweeney.

Rehearsals are expected to start in mid-January and performances will be in mid-March at the LPAC theater- after that we hope to be able to extend the run in another theater in the city.

We are currently looking for 3 actors and a lighting designer - see below for the details. Ideally we'd like to work with people who enjoy the creative process, are willing to experiment and believe in our vision and approach to theater so that we could become long-term collaborators for future projects. The production is non equity and non paying, but we will share a percentage of the box office earnings. Please contact us if interested or forward the information to anyone you think will be interested. Thank you!
Aktina

About the play: Molly Sweeney, based on a true story published by neurologist Oliver Sachs, tells the story of Molly, a woman blind since infancy, whose world is drastically changed after her husband's and her doctor's intervention to restore her sight. This is a complex memory play, engaging subtly with issues of identity and freedom, where the story unfolds through the individual narratives of the three characters, each of them occupying their own separate space. Brian Friel is one of Ireland's greatest playwrights.

We are looking for actors to fill the roles of:

Molly Sweeney, late 3Os. An independent woman who has created a full life for herself. Conceding to her husband's passion to "save" her will radically change her world.

Frank Sweeney, late 3Os, Molly's husband. A man always at the pursuit of the next noble goal, always trying to save the world.

Dr. Rice: mid-late 4Os . Molly's doctor. He gets involved in the project of restoring Molly's vision partly in order to compensate for past personal and professional loss.

Rehearsals: weekday evenings and early afternoons. Please email us with a photo and resume at lesmanouchestheatre@gmail.com to schedule an audition.


Lighting designer. Lighting is a very essential part for this project and a close collaboration with the director will be required. The lighting designer and director will have to work around the specific conditions and restrictions of the LPAC theater space.

Directed by Aktina Stathaki
Produced by Les Manouches

For any questions please email lesmanouchestheatre@gmail.com

--
Aktina Stathaki
Artistic and Producing Director
Les Manouches Theater Between the Seas Festival
www.lesmanouches.wordpress.com
www.betweentheseas.org"

THE BARN SERIES AT LABYRINTH THEATER COMPANY

It's time again for a series of free readings written, acted, and directed by some of New York (and the world's) best.

The LAByrinth Theater Company presents The Barn Series. Here's a list of the plays with their descriptions and reading dates.

The plays are FREE, but THEY SELL OUT! Well, they don't "sell" but you know what I mean. So, come early, or sign up as a LAByrinth LABpass member.

Tickets for all readings in the Barn Series are FREE to the public. No reservations necessary. Free tickets will be distributed an hour before curtain on a first come, first served basis.

LABpass Members can make advance reservations as a benefit of their membership. If you are a LABpass member, please call 212.513.1080 to make your reservation. For information on becoming a member:

http://www.labtheater.org/tickets/labpass.html


THE BARN SERIES
AT THE CHERRY PIT
CHANNEL
by John Jiler
Directed by Brian Roff*
Nov 29 & Dec 9 at 8pm

The illness of a child hurls together a rough-hewn white actor
and an elegant black doctor….with violent, awakening results.

Featuring Charles Goforth*, Ron Cephas Jones*


MARCY COMES HOME
by Adam Bock
Directed by Trip Cullman
Nov 30 at 8pm

When you drive out of town, but then come back on the
Greyhound bus - well, that can be hard.

Featuring Vanessa Aspillaga*, Quincy Tyler Bernstine*, Zack Booth,
Ari Graynor, Jason Butler Harner, Linda Larkin, Maulik Pancholy


IF YOU LOVE ME
by Lyle Kessler
Directed by Lola Glaudini*
Dec 1 & 2 at 8pm

Extremism in the name of love.

Featuring Sam Rockwell*, Elizabeth Rodriguez*, Yul Vazquez*


YOU ARE HERE
by Melissa Ross*
Directed by Mimi O’Donnell*
Dec 3 & 10 at 8pm

In You Are Here, six New Yorkers befriend and brutalize each other in a desperate attempt to control their out of control lives. As they stumble through the dive bars, cramped apartments and cut-throat boardrooms of a ruthless city, they wrestle with the reality of rapidly approaching middle age while still struggling to hold on to their disappearing youth.

Featuring Alexander Alioto, Max Casella, Michael Chernus, Sarah Nina Hayon*, Jennifer Mudge, Amanda Perez


THE BENDS
by Megan Mostyn-Brown*
Directed by Josh Hecht
Dec 4 & 5 at 8pm

When an alcohol fueled reunion between former college friends treads dangerous territory, everyone is forced to ask can we ever out run who we were? or is the past always there to haunt us?

Featuring Jeff Biehl, Caitlin Fitzgerald, Michael Gladis, Sarah Nina Hayon*, Greg Keller, Alexa Scott-Flaherty*


OH, THE POWER
by David Bar Katz*
Directed by Philip Seymour Hoffman*
Dec 7 & 8 at 8pm

Ten years after they were forced to disband, a group of superheroes gather for cocktails in a finished basement in the suburbs to try to unravel the mysteries of their final mission.

Featuring Tina Benko, Saidah Arrika Ekulona, Jeffrey Horwitz,
Joseph Parks, Ed Vassallo*, Yul Vazquez*


RIVERS OF JANUARY
by Ben Snyder
Directed by Stephen Adly Guirgis*
Dec 11 at 7pm & 9pm

Rio de Janeiro. New Year’s Eve. Three old friends struggle to make peace with the past, get a grasp on the present, and avert a tragic future.


HEAL ME TELEVISION
by Martha Wollner*
Directed by Kevin Geer*
Dec 12 at 7pm & Dec 21 at 8pm

1959. Small town, South. Lawerence Welk's on TV; home made ice cream with your peach cake; communion at home when you' re too sick for church; and a lynchin' just down the road. For goodness sake, don't just stand there gawking! Come on in!

Featuring Elizabeth Canavan*, Scout Cook, Andrea Haring*, Scott Hudson*, Russell G. Jones*, Florencia Lozano*, Kelley Rae O’Donnell*, Richard Petrocelli*, Yolonda Ross*, Finnerty Steeves, Sidney Williams*


THE WALKING GAME
by Daniel Harnett*
Directed by Padraic Lillis*
Dec 13 at 7pm & 9pm

A young man is having trouble holding on to reality and the room he's checked into - in this new musical one act.

Featuring Scout Cook, Kevin Geer*, Charles Goforth*, Marshall Sharer*


UTILITIES
by Jonathan Marc Sherman
Directed by David Bar Katz*
Dec 14 & 15 at 8pm

You should know how to break up with a friend.
You should know what your childhood idols are really like.
You should know what your partner is really feeling.
Shouldn't you? A story about how then became now.

Featuring Didi O’Connell*, Annie Parisse, Yul Vazquez*


NEW SHORT PLAYS
by Israel Horovitz
Directed by Israel Horovitz and Scott Illingworth
Dec 16 & 18 at 8pm

Israel Horovitz's New Shorts include
Just The Way You Are
...(an intervention from hell),
Inconsolable
...(on suicide),
The Vote In Orange
...(on the night France elected a Fascist candidate for the presidency),
Beirut Rocks
...(on the radicalization of an American Arab),
What Strong Fences Make
...(on the radicalization of an Israeli Jew).

Featuring Scout Cook, Jeremy Sisto, Francisco Solorzano


A FAMILY FOR ALL OCCASIONS
by Bob Glaudini*
Directed by Philip Seymour Hoffman*
Dec 17 &19 at 8pm

A father without skills, nor the ability to show his feelings, attempts to navigate the demands of a wife with a temper, a wayward daughter, who brings a man home to live,and a son so bright he has trouble communicating.

Featuring Lex Friedman, Craig “muMs” Grant*, Didi O’Connell*,
Charlie Saxton, David Strathairn


THEY KILLED BOO BOO?
by Maggie Bofill*
Directed by Jill DeArmon*
Dec 17 & 18 at 11pm

Sisters, Men, Wolves and Song....and Boo Boo. This is the story of…

Featuring Carlo Alban*, Raul Castillo*, Adam Cohen, Salvatore Inzerillo*,
Angela Lewis*, Paula Pizzi*, Yolonda Ross*


UNTITLED
by Stephen Adly Guirgis*
Dec 20 at 7pm & 9pm



*denotes LAByrinth Company member


All readings take place at THE CHERRY PIT: 155 Bank Street

LABYRINTH HOME
http://www.labtheater.org/

THE BARN SERIES CALENDAR
http://www.labtheater.org/onstage/barnseriescalendar.html

THE LABYRINTH LABpass
http://www.labtheater.org/tickets/labpass.html

ELLING

The night I saw ELLING, the audience seemed to love it. They laughed heartily at every joke and every piece of business, and jumped to their feet for a standing ovation at the end.

I was not quite so amused. There were a handfull of fine lines and good jokes. My favorite, which I shall actually remember, came when a character who seemed to be mentally and socially challenged, but skilled in mechanics, remarked of his classmates in the vocational school he was sent to, that the students were all idiots. The apparently very well educated, distinguished poet beside him then remarked that in his own case, his teachers were all idiots.

This play is an American version of a distinguished Norwegian novel, play and movie. Two mentally/socially challenged older men are sent from a mental institution to learn to function in the real world.

There are several problems with this American stage version, which seems (without knowing its history) to be hastily thrown together without solving its dramatic problems.

Coincidentally, I just watched an episode of Theater Talk on TV in which Cherry Jones remarks how much a play can and should change over time as the actors really begin to understand it. Given the success of the Norwegian original, I suspect that a visit from a play-doctor, and some more time to solve the problems could generate a much better play.

There are two main characters, Elling (Denis O'Hare), a small, fussy older man who lived with his mother all his life, until she died, and Kjell Bjarne (Brendan Fraser), a large, older man, a virgin who is obsessed with women and sex, but does not understand how social relations work. (He proposed to a woman with his pants off. She called police. That's how he arrives at the mental institution to room with Elling, to start the play.) They both seem so mentally incompetent that nothing that happens later is believable.

If they are really as disfunctional as they seem, only the most brilliant psychological therapy would have the slightest chance of rehabilitating them. If there is actually a healthy guy inside each socially/mentally/wounded body (which is what the action of the play requires) then the acting and some of the writing is just too broad, too campy, too much caricature and too inaccurate to carry the story believably. For the rest of the play, then, most of the jokes must be shtick, not human humor.

A second problem which makes the play confusing is that all the acting behavior seems quintessentially American, yet every once in a while the characters say something to remind us that they are Norwegians in Norway. It is a disconnect.

In a similar vein, there are some ethnic, racial, and similar remarks that may be funny in Norway but just seemed unpleasant to me.


Having all the women in the play -- a nurse, a waitress, a poet, and a pregnant neighbor, who are really very different characters -- played by the same actress (Jennifer Coolidge) further confuses the story, because it seems to suggest a through-line between the various women and their relationships with the two men. I think, in fact, a strong contrast between the women and how they relate to the men would be more helpful to the play.

I hope, as the play plays out, the characterizations will mellow out and become more realistic. (Cherry Jones in the interview I mentioned above suggests that anyone who sees a preview of a play should be given a voucher to come back and see the play again in a few months... after it has matured.) The second act, in fact, is better than the first act. And the pictures from the play, shown in this story, suggest a more spot-on human interpretation of the characters than was evident in the too-over-the-top "theatrical" acting at the preview I attended.

In any case, ELLING is a pleasant, amusing (to a degree depending on your taste) holiday show, with a fundamentally uplifting character arc.

The best thing about the play is seeing familiar actors on the stage. I've always liked Brendan Fraser, the very popular movie star; Jennifer Coolidge has been a favorite of mine since Legally Blonde; and Denis O'Hare is starring in True Blood at the moment, and was the subject of an extended profile in the NYT.

If the actors come out after the show and say "Hello" to the theatergoers at the Stage Door, that would be an added attraction.

THE OFFICIAL SITE:
http://ellingonbroadway.com/

BRENDAN FRASER WIKIPEDIA
http://en.wikipedia.org/wiki/Brendan_Fraser

DENIS O'HARE WIKIPEDIA
http://en.wikipedia.org/wiki/Denis_O

DENIS O'HARE NYT PROFILE
http://www.nytimes.com/2010/11/14/theater/14ohare.html

JENNIFER COOLIDGE WIKIPEDIA
http://en.wikipedia.org/wiki/Jennifer_Coolidge

THE WASSERSTEIN PRIZE AFFAIR

Wendy Wasserstein was an important woman playwright who died in 2006 at the age of 55. She was much honored (Tony, Pulitzer...). She was known for woman-centered plays including The Heidi Chronicles, The Sisters Rosensweig, and Uncommon Women and Others.

In her honor, a prize was set up to honor young women playwrights. It is given to "a female playwright under 32 who has yet to receive national attention." It is funded by the Educational Foundation of America (AFAW) and administered by the Theater Development Fund (TDF).

In 2010, there were 19 finalist plays competing for the Wasserstein Prize. The Wasserstein Selection Panel decided that none of the plays was worthy of the prize (see the quote below).

Note: Nov 16, 2010 - According to the NYT, the "Administrator" of the Prize has decided to review the process and procedure for awarding the Prize and reconsider whether the Prize should be awarded this year:

A Do-Over for the Wasserstein Playwriting Prize
By PATRICK HEALY, NYT:
http://artsbeat.blogs.nytimes.com/2010/11/15/a-do-over-for-the-wasserstein-playwriting-prize/

A Youngblood Playwright at The Ensemble Studio Theater protested -- for a variety of reasons -- that declining to award the prize was a terrible thing to do.

I'm not sure I agree. First of all, a prize should not be awarded if none of the finalists is deemed worthy: it protects the value of the prize that the "standards" are maintained.

Secondly, as some people have pointed out, the Wasserstein Prize is sexist (women only) and ageist (young women only). From my perspective, older men who have plays also have trouble getting them produced, as does every other demographic! I think prizes should be for everybody.

Thirdly, none of us actually know if the plays were any good, or if the 19 plays nominated were "better" than other plays that were eligible but not nominated, nor who the judges were, nor what their aesthetic criteria were. It's kind of presumptuous to assume the panel of judges was wrong when it's not even known what plays were considered, much less how well they were written.

(Note 1: Of course, from the point of view of the prize-giving organization, declining to award a prize not only protects the "integrity" of the prize, it generates a lot of publicity -- some good, some bad. Assuming the decision was reasonable or wise, and not just stupid, this raises the public awareness of the prize.)

(Note 2: Of course, not awarding a prize also saves money and avoids making one kind of hard decision -- while making a different hard decision. Trying to look up information about the current state of the prize, neither the TDF which administers it, nor the Educational Foundation of America (EFAW) which funds it, seems to have much to say about the Prize. Indeed, EFAW seems to be retrenching at the moment. So perhaps the failure to award a prize is more administrative retrenching than any intended insult to the 19 finalist playwrights or to any other playwrights who never made it to the finals.)

Nevertheless, the result of this controversy is -- as perhaps they expected, see Note 1 above -- increased visibility for the Prize and theater, generally. There is now a movement afoot to produce readings of the 19 dissed plays, and even stream them over the internet. With a little -- or probably more than a little -- publicity the plays could reach a bigger audience than any black-box or OOB presentation ever would. It would also increase the experience of theater people with live streaming, for application to future productions.

Two of the leaders in this project are the Ensemble Studio Theater (EST), whose Youngblood Playwright escalated the affair, and a new group, 2AMT.

EST is well-known, but what is 2AMT? Here's their own description of 2AMT:

"2am. You’re wondering why this is called 2am. What does that have to do with theatre?"

"2am is when the ideas start to flow."

"The beginning: In January 2010, over on Twitter, a group of theatre folk started talking, brainstorming, tossing out ideas and testing to see how they’d float. Or if they’d float at all. And even though it was late, the conversation kept going. As it went on, it started to pick up more and more people from more and more places. It was one of those conversations."

...

"#2amt: In order to keep the conversation’s focus, we now use #2amt when tweeting, adding the t for theatre. That’s only five characters out of your 140, which saves a lot of space. Why? Because nobody else is using that tag, and no one else would need or want to. It means you can drop in at any point in the conversation and, if you so desire, follow it back to its source. Or find new topics or ideas in the stream."

"Primarily, this site will act as a gathering place for theatre ideas."


STREAMING

Here are some thoughts on the process of streaming readings of the plays:

There are several sites that provide an easy method of streaming... USTREAM and LIVESTREAM are two. Actually, Skype may be another.

Simple streaming is easy: Point a camera, upload in real time to the streaming site. Access the streaming site.

Effective streaming is a little harder:

=1=> It is necessary to check every element of the technical chain all the way to the end user before starting.

For example:
Camera + mic =>
computer =>
streaming site =>
streams (how many?) =>
computer (MAC? PC? Linux?) =>
browser (which - IE? Safari? Firefox? etc?) =>
streaming video window.

Also: Log in process; startup, etc

=2=> It is necessary to reach out to the audience and get them to tune in. Getting a large audience requires significant promotion.

=3=> And the audience must be available for the whole broadcast. People at home are fickle. There's a reason theaters put people in seats that are not that easy to get out of, and have them turn off their phones before the show starts.

Indeed, it might be worthwhile to stream the readings not just to people's own computers, but to large, high resolution monitors in theaters. (See item =1=> Make sure the theater system works -- to avoid a really bad experience.)

The NYFF has used SKYPE for interactive press conferences with directors. The Metropolitan Opera has started streaming operas to movie theaters. Streaming to theaters avoids the problem of interruptions to audience attention in the "distractionacious" real world.

=4=> A production seen through a camera should be directed not just as a reading, but as a production seen through a camera. The camera must be pointed at the right place at the right time, the audio must be picked up clearly, and the way actors convey a sense of reality can be somewhat different from either a table reading or a staged reading.

=5=> Of course, once live streaming is over, the recorded event should be available for on-demand streaming.


CONCLUSION

So, perhaps the Wasserstein Affair will turn out to be not just a win-win, but a win-win-win...win-win (that's one "win" each, for the 19 playwrights, the Wasserstein Prize itself, EST, 2AMT, and theater in general).


HERE'S WHAT TDF SAID ABOUT NOT AWARDING THE WASSERSTEIN PRIZE:

“We regret to inform you that of the 19 nominated plays, none was deemed sufficiently realized by the selection panel to receive the Prize. As a result, the Wasserstein Prize will not be presented in 2010. While the panel thought that many of the scripts showed promise, they felt that none of the plays were truly outstanding in their current incarnation.”


HERE'S THE LINK TO MICHAEL LEW'S LETTER:

Michael Lew's letter to the Theater Development Fund, which administers the prize (following the letter there are gazillions of comments which explore several of the issues) :

http://youngbloodnyc.blogspot.com/2010/11/no-wasserstein-prize-in-2010-selection.html


HERE ARE SOME MORE LINKS TO THE SITES OF INTEREST:

2AMT ON TWITTER
twitter.com/2amt
( #2amt is the thread on Twitter.)

2AM THEATER... COMMENTS
http://www.2amtheatre.com/
http://www.2amtheatre.com/where-2am-began/

THE ENSEMBLE STUDIO THEATER - EST
http://ensemblestudiotheatre.org/

EST - YOUNGBLOOD
http://ensemblestudiotheatre.org/programs/youngblood/

WENDY WASSERSTEIN on WIKIPEDIA
http://en.wikipedia.org/wiki/Wendy_Wasserstein


WASSERSTEIN PRIZE 2010:
I could not find a clear link to this! Not to the nomination process, not to the judging criteria, not to the panel that makes the decision. There is more information about 2009:

WASSERSTEIN PRIZE 2009:
http://www.tdf.org/TDF_NewsDetailsPage.aspx?id=86

USTREAM
http://www.ustream.com/

LIVESTREAM
http://www.livestream.com/

SKYPE
http://www.skype.com/

THE THEATER DEVELOPMENT FUND
http://www.tdf.org/

THE EDUCATIONAL FOUNDATION OF AMERICA
http://www.efaw.org/

RED BULL THEATER: OPEN SUBMISSIONS FOR SHORT PLAY FESTIVAL

RED BULL THEATER
NEW SHORT PLAY FESTIVAL
OPEN SUBMISSIONS FOR 10-MINUTE PLAYS

Red Bull Theater seeks new 10-minute plays for the spring short play reading day.

New plays of no more than 10 pages, written in heightened language, in verse, with classic themes, adaptations of classics, or that otherwise fit our mission and history are welcome.

Monday June 13th, 7:30pm
NEW PLAY FESTIVAL
World Premiere Short Plays

Using heightened language, contemporary playwrights respond to the classic themes and stories from Red Bull Theater’s mission.

Directed by Timothy Douglas and Wendy Goldberg.

Featuring new plays by Elizabeth Egloff, David Grimm, and Maybe You -

Submit your play!

BASIC RULES
(unofficial -- see below for submission details and official rules)
1 - Only one submission per author.
2 - Deadline: RECEIVED (not postmarked) by December 31, 2010
3 - Submit by mail, not electronically. Address:

Red Bull Theater
10 Minute Play Festival
PO BOX 250863
New York, NY 10025

4 - There will not be any comments returned to the author.


Visit www.redbulltheater.com/Collaborate and
http://www.redbulltheater.com/Festival/SPF_Guidelines.pdf
for details.

Write wendy@redbulltheater.com with any questions.
______________________________________


UPCOMING AT RED BULL THEATER

CLASSICAL ACTING WEEKEND INTENSIVE: October 30-31, 2010
Classes with Stuart Howard, Elizabeth Smith, Rick Sordelet, Michael Urie, and more!

REVELATION READINGS: Now through June 13, 2011
Next: Love Lies A-Bleeding with Santino Fontana and Heather Lind – October 25, 7:30pm

THE WITCH OF EDMONTON: Starts Performances January 25, 2011
A wild and timely Jacobean tragicomedy, featuring bigamy, witchery, and a very devilish dog...

Plus...

MARGARET:
In the Raw WorkshopIn collaboration with The Shakespeare Society:
Spend the night with Shakespeare's greatest queenFebruary 24-27, 2011

And, finally...

RUNNING OF THE RED BULLS: June 6, 2011 – Annual Benefit Party:
Presentation of the Matador Awards for Excellence in Classical Theater – Mark your calendars!

______________________________________

RED BULL THEATER
NEEDS YOUR SUPPORT
Consider making a contribution...

Ticket Sales cover only 35% of the cost of programs.
Contribute today if you can... Every dollar counts!
www.redbulltheater.com/Join

"The most exciting classical theater company in New York."-Time Out New York

JESSE BERGER
Artistic Director
www.REDBULLTHEATER.com

BETWEEN THE SEAS STAGED READINGS

BETWEEN THE SEAS
STAGED READINGS
October 18 & 19

5 new plays by award-winning and emerging playwrights, a diverse group of directors and actors, and the cozy lounge of Solas bar in the East Village [232 East 9th str].

An event where artists and audiences will share works and ideas.


Check this blog:

http://betweentheseas.wordpress.com/
for "playwrights profiles" with info on the featured playwrights and their work!

FULL SCHEDULE

Monday 18th:
6-8: Aziza by Damon Chua
8-1O: Ariadne on the Island by Kato McNickle

Tuesday 19th:
6-7: Monologue by Anthoula Katsimatides
7-8: Mama Butterfly by Eyad Houssami
8-1O: Ruth and the Great Gust of Wind by Noelle Ghoussaini


THE EVENT IS FREE! Donations will be gladly accepted to support the festival.


Facebook:
http://www.facebook.com/pages/Les-Manouches-Theatre-Company/83132451315?v=app_2344061033&ref=ts#!/event.php?eid=154211984601296&index=1

Website:
http://betweentheseas.org/home/calendar.html

BETWEEN THE SEAS
October 18 & 19
6 PM to 10 PM
Solas bar in the East Village
232 East 9th Street

SUBMISSIONS - O'NEILL THEATER, NATIONAL PLAYWRIGHTS CONFERENCE 2011

The O'Neill Theater is currently accepting applications for the 2011 National Playwrights Conference, which runs through the month of July: July 1-31, 2011.

The Conference is an opportunity for playwrights (and the director and actors attached to the play, if any) to work on-site for a month at the O'Neill Theater Center to develop the play.

The Center sits on attractive grounds (in Connecticut, near the water), and provides housing and meals for the month. (Transportation to the Conference is also provided.)

This workshop is primarily for full length dramatic/comedic plays, but one acts, experimental theater (if it can be explained in writing!) and plays with incidental music will also be considered. Musicals are the subject of a separate program.

The director and cast for readings and play development will be selected through consultations and discussions with the writer, and come from the writer's own team, people who have worked with the Center in the past, and Equity auditions in May.

The application process opens today (September 20, 2010) and runs through October 22, 2010. Semifinalists (and those not selected) will be notified in February, and the final selections should take place in April.

For more information, direct from the O'Neill Center...

About the O'Neill Theater Center:
http://www.theoneill.org/about/about.htm

About The National Playwrights Conference:
http://www.theoneill.org/prog/plays/playprog.htm

Application Guidelines and Forms:
http://www.theoneill.org/prog/plays/playapp.htm

RED BULL THEATER CLASSICAL ACTING WEEKEND INTENSIVE OCT 30-31

RED BULL THEATER

CLASSICAL ACTING
WEEKEND INTENSIVE

Here's an interesting Master Class from the

Red Bull Theater

Two Days Only: October 30-31

Master teachers will be offering classes in
Voice and Verse, Auditioning for the Classics,
Stage Combat, and More

Instructors
Red Bull Theater master teachers are professional artists working in the field, with teaching experience. Previous courses have been taught by Stuart Howard, casting director; J. David Brimmer, fight director; actors Patrick Page, Matthew Rauch, Michael Urie, Red Bull Theater artistic director Jesse Berger, and more. New courses will be taught by some of the above, and feature new teachers of the same high caliber.


Small class size - Limited number of spaces available!
Classes will be held at 416 West 42nd Street.

Full tuition only $400.
For two full days, immerse yourself in the world of classical text, acting Shakespeare, stage combat, and more. Prepare for your next role, or your next audition. Give yourself the tools you need to get started, or brush up on your old skills. Over two days, you will have four in-depth sessions with our master teachers, giving ample time to dig in and explore this challenging material, and engage one-on-one with these working professionals.

Enroll Online at

www.REDBULLTHEATER.com

Note: There may be a $25 discount if you reserve your spot by October 1st. Call them!

Email mathilde@redbulltheater.com for more info or to make your reservation today.

Get in charge of the language and express your soul!


www.REDBULLTHEATER.com

CTI MATING GAME -- WRITERS + PRODUCERS

The Mating Game
Joint One Day Seminar

COMMERCIAL THEATER INSTITUTE

PRODUCERS
♥♥♥
NY MUSICAL THEATER FESTIVAL

WRITERS

Friday, September 24th, 2010, 10:00am – 5:00pm

Price: $160/Pre-Registration (Includes Box Lunch)

Direct from The Commercial Theater Institute (CTI) here is advance notice of a brand new CTI course for Friday September 24th – The Mating Game.

The idea is to expose producers to writers and vice versa by creating a day of presentations, one-on-one interaction and group presentations. We will meet at Theatre Row from 10am – 5pm, lunch and the ever-popular networking reception are included in the $160 fee.

Why should you take this seminar, if you are a producer? To improve your understanding of theatre writers’ needs and sensibilities; to refine your project-pitching skills, and to meet a slew of younger musical writers, learn about their projects and perhaps form some partnerships.

We only have room for 36 spots and about 1/3 of them are already spoken for. Please go to our website


http://www.commercialtheaterinstitute.com/game.html


and plan to join us.

Produced with the New York Musical Theatre Festival, the one day program brings together twelve creative teams with thirty-six early career producers to share ideas, explore common interests and learn the fundamentals for forming productive creative relationships. There will be lectures and panel discussions as well as a “mini-project” with producer-writer teams developing “creative pitch” presentations. The day concludes with a networking reception.

Limited to 36 producers/participants.

The Mating Game: Joint One Day Seminar with NYMF Writers
Friday, September 24th, 2010, 10:00am – 5:00pm

Price: $160/Pre-Registration (Includes Box Lunch)

The Commercial Theater Institute (CTI) is the pre-eminent training ground for anyone who wishes to be a professional theater producer. I took their 3-day course and I can attest to the quality of their offerings. This is a great organization to know, and if you want to be a theatrical prooducer, it is vital to take the opportunities they present to learn and to network.


http://www.commercialtheaterinstitute.com/game.html

SUBMISSIONS FOR BETWEEN THE SEAS - MEDITERRANEAN THEATER FESTIVAL IN NY

Call for submissions
BETWEEN THE SEAS staged readings

Between the Seas is an initiative that "aims to bring together performing artists of the Mediterranean and Mediterranean diaspora, explore Mediterranean cultural identity -- its historical connections, commonalities and differences -- and share with New York audiences the vibrancy of contemporary Mediterranean cultural production."

In anticipation of the Between The Seas Festival in 2011, Les Manouches is hosting an evening of staged readings, to give NY based artists the opportunity to connect, share their work and interests, and exchange projects and ideas.

The event will take place on Monday October 18th, 6-10 pm at Solas, 232 East 9th street.

Les Manouches is inviting proposals from directors, writers and theater companies for staged readings of:

=>New plays by contemporary Mediterranean playwrights (preferably that have not been staged in NY before);

=>New plays by US-based playwrights that engage in various ways with Mediterranean culture and identity;

=>Short stories by Mediterranean writers that artists are interested in adapting for the stage.

The producers welcome short or full-length plays, as well as scripts still in progress.

Note from Les Manouches:

"Please note: it is the artists' responsibility to put together a team for the reading - we will not be involved in casting and directing the works.

"Please submit: resume, a brief cover letter and a 10-page sample of the script. Deadline: September 20th. Email your materials to:

"lesmanouchestheatre@gmail.com"

Between the Seas is curated by Aktina Stathaki and produced by Les Manouches.

Les Manouches translates as "the Manush" which means "the gypsies" -- with a connection to the Sanskrit meaning "Human Being," according to Wikipedia. It is a theater company focusing on the creation of original works, intercultural collaborations, and on bridging research with performance practice on topics of identity and culture.

Aktina Stathaki, Ph. D.
Theatre Artist, Curator and Researcher
Artistic Director, Les Manouches Theatre
http://www.aktinastathaki.com/

Les Manouches
http://www.lesmanouches.wordpress.com/

WINNERS! & COMPLETE LIST: AWARD NOMINEES - MITF 2010

The Midtown International Theatre Festival (MITF) announces the nominees for the MITF Eleventh Annual Season Awards. The AWARDS CEREMONY will be held on Thursday, September 9, 2010 (a poor choice of date, I think, because it is in the middle of an important religious holiday) at 8pm at New World Stages, 340 W. 50th Street (between 8th and 9th Avenues), NYC. Tickets are $20 ($15 if booked before 8/30) and are available now at

http://www.midtownfestival.org/
or 866-811-4111.

NOTE (SEP 10) -- Updated with winners in red!

The 2010 MITF Award Nominees are:

Outstanding Production of a Play
Can I Really Date a Guy Who Wears a Yarmulke?
Closure
In Our Own Image
Screenplay
The Starship Astrov
The Tragedie of Cardenio

Outstanding Production of a Musical
10 Reasons I Won't Go Home with You
Civil War Voices
Conspiracy
Lovers
Most Likely To: The Senior Superlative Musical

Outstanding Production of a Special Event
Alice & Elizabeth's One Woman Show
Asian Belle
Love, Humiliation & Karaoke
ResurGENTS
Tallish Tales

Outstanding Playwriting for a New Script
Alice & Elizabeth's One Woman Show by Alice Barden
Can I Really Date a Guy Who Wears a Yarmulke? By Amy Holson-Schwartz
Gray Matters by Jacques Lamarre
Screenplay by Scott Brooks
The Starship Astrov by Duncan Pflaster



Michael Tester
Nominee, Outstanding Music and Lyrics
Most Likely To: The Senior Superlative Musical
Photo by Eric Roffman
Outstanding Music & Lyrics
Bobby Cronin, Jason Purdy, Andrew Byrne, Blake Hackler, Steven Silverstein,
Alan Bukowiecki & Phillip Chernyak for 10 Reasons I Won't Go Home with You
Mark Hayes for Civil War Voices
Victor Lesniewski for Conspiracy: A Love Story
Christopher Massimine for Lovers
Michael Tester for Most Likely To: The Senior Superlative Musical

Outstanding Direction
Dennis Courtney for Civil War Voices
Abbe Gail Cross for Most Likely To: The Senior Superlative Musical
Jenny Greeman for Screenplay
Mike Hayhurst for The King of Bohemia
Eric Parness for The Starship Astrov
Paula Riley for Literary Disruption

Outstanding Costume Design
Janell Berte for Civil War Voices
broadwayclubhouse.com for Most Likely To
Can I Really Date a Guy Who Wears a Yarmulke?
Marc Caswell for Colored People's Time
Mark Richard Caswell for The Starship Astrov
Amy Kitzhaber for Tallish Tales

Outstanding Sound Design
Todd Ackerman for Love Me Tinder
Benjamin Furiga & Nathan Manley for Tallish Tales
Love, Humiliation & Karaoke
Nick Moore for The Starship Astrov
Nicholas Pacifico for The King of Bohemia
Michelangelo Sosnowitz for Peking Roulette

Outstanding Scenic Design
Darby Cire for The Starship Astrov
Steven Octavius Hill for Literary Disruption
Dan Koch for Never Norman Rockwell
Randall Parsons for Colored People's Time
Christine Peters for Tallish Tales
Screenplay

Outstanding Lighting Design
Isabella F. Byrd for The Starship Astrov
Jon Capozzoli for Gray Matters
Jake DeGroot for The Gospel According to Josh
Patricia R. Floyd for ResurGENTS
Yuriy Nayer for Colored People's Time
Ian Wehrle for Screenplay

Outstanding Lead Actor in a Play
Frankie Alvarez in The Tragedie of Cardenio
Walter Brandes in The Starship Astrov
Jason Liebman in Can I Really Date a Guy Who Wears a Yarmulke?
Jonathan Sale in Screenplay
Josh Sauerman in Prevailing Wins

Outstanding Lead Actress in a Play
Cindy Blevins in Love Me Tinder
Elizabeth Davis in The Starship Astrov
Olivia Horton in Literary Disruption
Catherine LeFrere in Can I Really Date a Guy Who Wears a Yarmulke?
Gabby Sherba in Merrily, Merrily, Merrily
April Woodall in Gray Matters

Outstanding Lead Actor in a Musical
Mark Cajigao in Conspiracy: A Love Story
Stephen Hope in Civil War Voices
Eddie Schnecker in Conspiracy: A Love Story
Ryan Stadler in 10 Reasons I Won't Go Home with You
Will Taylor in Lovers

Southern couple Harriet and Theo Perry (Dani Marcus and Stephen Trafton) Freed slave Elizabeth Keckley (Danielle Lee Greaves)
in CIVIL WAR VOICES

Outstanding Lead Actress in a Musical

Amanda Castanos in Most Likely To: The Senior Superlative Musical
Danielle Lee Greaves in Civil War Voices
Courtney Hammond in Lovers
Elaine Moran in Conspiracy: A Love Story
Kelly Nichols in 10 Reasons I Won't Go Home with You
Jesse Zeidman in Most Likely To: The Senior Superlative Musical

Outstanding Performance by an Actor or Actress in a Special Event
Alice Barden in Alice & Elizabeth's One Woman Show
Daniel Damiano in The Hyenas Got It Down
Michelle Glick in Asian Belle
Enzo Lombard in Love, Humiliation & Karaoke
Joshua Rivedal in The Gospel According to Josh

Outstanding Supporting Actor in a Play or Musical
Scott Brooks in Screenplay
Craig Divino in The Tragedie of Cardenio
Arthur Marks in Civil War Voices
Stephen Trafton in Civil War Voices
Matt Welsh in In Our Own Image

Outstanding Supporting Actress in a Play or Musical
Heather Dilly in Screenplay
Jennifer Gawlik in The Starship Astrov
Kathryn Kates in Gray Matters
Sarah Sixt in Most Likely To: The Senior Superlative Musical
Emily Soffe in Literary Disruption

Outstanding Ensemble Performance
All Folked Up
Civil War Voices
Closure
Most Likely To: The Senior Superlative Musical
ResurGENTS
The Starship Astrov

Outstanding Choreography
Dennis Courtney for Civil War Voices
Abbe Gail Gross & Janice Aguilera for Most Likely To: The Senior Superlative Musical
Jusin Williams for ResurGENTS

Outstanding Production of a Short Subject
All Folked Up
An Ode to the Washerman
Love Stinks
Searching for Soula
The Hyenas Got It Down
The Reunion Plays

Outstanding Reading
Becoming Kinky
Hadleyburg
Miss Pell is Missing
Soleda Red and Yellow

Outstanding Show Marketing & Advertising
Asian Belle
Civil War Voices
Gray Matters
Lovers
Most Likely To: The Senior Superlative Musical

ALSO ANNOUNCED AT THE AWARDS EVENT:

Producers Awards, Presented by John Chatterton

Can I Really Date A Guy Who Wears A Yarmulke? - The Beckett Theatre
Literary Disruption - June Havoc Theatre
Asian Belle- Dorothy Strelsin Theatre
Love Me Tinder - Main Stage Theater
Till Death Do Us Part? - Jewel Box Theater


Congeniality Award

Awarded to a festival production that excels in demonstrating congeniality before, during, and after the festival process, including efficiency, flexibility, tact, and professionalism. This award is voted on by the Festival crew that interacts with the shows on a daily basis, and presented by MITF Managing Producer Emileena Pedigo.


Winner:
Mike Reardon/Write Paths Studio, Love Me Tinder

Nominees:
Agony Productions & Paris Junior College, In Our Own Image, MITF contact Christopher Heath
Broadway Clubhouse.com, Most Likely To: The Senior Superlative Musical, MITF contact Michael Tester
Kyle Stewart, Tallish Tales, MITF contact Amy Kitzhaber
Burning Nickels Productions / Phil Newsom Prod., Michael Roderick, 10 Reasons I Won't Go Home with You, MITF contact Phil Newsom


MITF's AWARDS CEREMONY featured entertainment by 2010 Season shows, including scenes from Can I Really Date A Guy Who Wears A Yarmulke? and Screenplay; and musical numbers from Civil War Voices, Most Likely To: The Senior Superlative Musical, and Ten Reasons I Won't Go Home With You, among others.



Audiences voted online for the Best of Fest and winners will be announced at the ceremony. One of the Best of the Fest voters will win tickets to The 39 Steps in a drawing held at the ceremony.

The MITF's 2010 Season ran from July 12 - August 1, 2010 at the Beckett Theatre, Theatre Row, 410 W. 42nd Street, NYC; the June Havoc Theatre, 312 W. 36th Street, 1st floor; the Dorothy Strelsin Theatre, 312 W. 36th Street, 1st floor; the Main Stage Theater, 312 W. 36th Street, 4th floor; and the Jewel Box Theater, 312 W. 36th Street, 4th floor.

The Midtown International Theatre Festival, now in its eleventh year, celebrates the diversity of theatre. The MITF welcomes theatrical storytelling across a broad spectrum of genres, forms, identities, cultures, and appetites. The MITF seeks to nurture these new ideas, perspectives, and stories on its stages, with an eye set on guiding these productions toward future success and longevity. The festival, traditionally held in summer, represents a fantastic, often paradoxical, adventurous and intriguing cross-section of the forefront of the theatre world. The MITF proudly hosts production companies from across the country and around the globe, uniting talent in one of the biggest theatre capitals in the world.

Mr. Chatterton created the MITF, a Midtown alternative to other theatre festivals, in 2000 as a way to present the finest off-off Broadway talent in convenience, comfort, and safety. In 2008, the Festival added two 99-seat theatres and inaugurated the Commercial Division for upwardly mobile shows with commercial ambitions. The MITF's artistic emphasis is on the script itself and therefore the Festival requests minimal production values.

Here are links to original stories in BOBOOBLOG with the details of this interesting festival:

The Festival includes:

FULL LENGTH PLAYS
http://bobooblog.blogspot.com/2010/07/mitf-midtown-international-theater.html

FREE READINGS
http://bobooblog.blogspot.com/2010/07/mitf-free-readings.html

and SHORT PLAYS
http://bobooblog.blogspot.com/2010/07/mitf-short-plays.html

For more information, visit
http://www.midtownfestival.org/

REVELATION READINGS AT RED BULL THEATER

Here's the schedule for the Revelation Readings at the RED BULL Theater.

It's a great collection of plays, with fantastic actors:


Monday September 13th, 7:30pm
GAMMER GURTON’S NEEDLE
By Mr. S. Mr. of Art
Join this hilarious search for a needle in the haystack of pre-Shakespearean sex.
Directed by Everett Quinton
Featuring Roberta Maxwell and Mary Testa

Monday September 20th, 7:30pm
A BENEFIT READING OF
OUR BETTERS
By W. Somerset Maugham
Directed by Stuart Howard
Featuring René Auberjonois and Michael Urie
A delightful and delicious satire on American ethics from the pen of one England’s most de-lovely writers.
VIP Cocktail party with the actors, special guests, and entertainment follows the reading.
Admission: $100 Reading & Party $250 Premium Benefit Seating
Reserve now at: www.redbulltheater.com

Monday October 25th, 7:30pm
LOVE LIES A-BLEEDING
By Francis Beaumont and John Fletcher
Love, lust and lies... This Jacobean romance doesn't just tug at the heart-strings, it tears them to pieces.
Directed by Craig Baldwin

Featuring Heather Lind

Monday November 15th, 7:30pm
DON CARLOS
By Friedrich Schiller
In a new version by Mike Poulton
The German Hamlet, this sweeping historical drama is also a cry for individual liberty from tyranny and terror.
Directed by Joseph Hardy
Featuring Daniel Davis and Matthew Rauch

Monday November 29th, 7:30pm
GERTRUDE - THE CRY
By Howard Barker
The passion of Hamlet’s mother is at the center of this savagely poetic tragedy.
In collaboration with The Barker Project
Directed by Richard Romagnoli
Featuring F. Murray Abraham and Jan Maxwell

Tuesday, December 28th, 7:30pm
THE SPANISH TRAGEDY
By Thomas Kyd
The first and bloodiest of the revenge tragedies. A harrowing exploration of jealousy and madness.
Directed by Matthew Rauch
Featuring Maria Dizzia and Michael Stuhlbarg


Monday January 10th, 7:30pm
THE SUICIDE
By Nikolai Erdman
Adapted by Richard Nelson
Banned by Stalin, a farcical look at the relationship between the individual citizen and society’s ideals.
Directed by Kay Matschullat
Featuring Jessica Hecht and Jeremy Shamos

Monday February 7th, 7:30pm
THE WITCH
By Thomas Middleton
Something wickedly funny this way comes from the author of Women Beware Women, featuring Hecate, the queen witch from Shakespeare’s Macbeth.
Directed by Leigh Silverman

Monday February 14th, 7:30pm
VINEGAR TOM
By Caryl Churchill
A Brechtian take on gender and power, set amidst the witchcraft trials of 17th Century England.
Directed by Wendy McClellan

Monday March 28th, 7:30pm
TROY WOMEN
By Euripides
New version by Karen Hartman
A brutally compelling portrait of woman during war, in an ecstatic contemporary adaptation.

Monday April 25th, 7:30pm
CREDITORS
By August Strindberg
New version written and directed by Doug Wright
A diabolical treatise on the darker side of love.
Featuring Bill Camp and Kathryn Meisle

Monday May 9th, 7:30pm
MONTSERRAT
An adaptation by Lillian Hellman
From the French play by Emmanuel Robles
Set during Spain's occupation of Venezuela in 1812, the story of an atrocity committed by an occupying force and the agonizing act of conscience by one Spanish junior officer.

Monday May 23rd, 7:30pm
WILD OATS
By John O’Keefe
A riotous comic affair replete with Shakespearean innuendo and rakish Restoration wit.
Directed by Patrick Page
Featuring Reg Rogers

Monday June 13th, 7:30pm
NEW PLAY FESTIVAL
World Premiere Short Plays
Using heightened language, contemporary playwrights respond to the classic themes and stories from Red Bull Theater’s mission.
Featuring new plays by Elizabeth Egloff, and more TBA

+All Readings are on Mondays at 7:30pm, except as noted. Cast and details Subject to Change.


www.redbulltheater.com
212.352.3101

28 & 1/2 PLAYS IN 60 25%-NEKKID MINUTES

Having attended another edition last night of TMLMTBGB (Too Much Light Makes The Baby Go Blind) by the NY Neo Futurists, this one with the special title "30 HALF-NEKKID PLAYS IN 60 HALF-NEKKID MINUTES", I stand by my assertion that the NY Neo Futururists have one of the best, most interesting, most innovative, most entertaining shows in NY.

They had energy in abundance. They were funny.

They were a bit chaotic at setting up each new play. As a result, they only put on 28 plays (2 left undone) before the 60 minute timer ran out. They did sell out the house, and as promised, ordered a pizza (as they do whenever they sell-out). So I'll give them a 1/2 play credit for ordering the pizza (on the clock). That makes 28 1/2 plays.

They were not really half-nekkid. Their underwear or shorts, etc, covered more than they'd cover with a polka-dot bikini on any beach , so I can't really agree they were half-nekkid. No topless at all. No bottomless. etc. They could go out in public (at a beach, anyway) with less than what they wore, so I'll only give them credit for 25% nekkidness.

What was disappointing though, was that the plays did not acknowledge the fact that they were not normally dressed. (Well, they got smeared with more liquids on their skin than normal, I suppose.) For a troupe whose manifesto is to acknowledge reality, it was disappointing that no plays seemed to be written for this special occasion: a cast in their underwear. Surely there must be stories that would use their costuming. Surely there must be plays about people wearing very little to connect with the reality of tonight's opportunity.

So, I can't call them half-nekkid plays at all. They were ordinary plays. Actually ordinary plays in denial of what the actors were wearing.

Hence 28 1/2 plays, not 28 1/2 "half-nekkid" plays.

Nevertheless, they were very good ordinary plays -- as good as they ordinarily are. Almost everything they did was interesting, well executed, funny or tragic, and fun. and it was a little extra wacky, given the semi-semi-undress they performed in.

(Note 1 -- Of course, semi = 1/2 , so semi-semi = 1/2 x 1/2 = 1/4 = 25%.)

(Note 2 -- It was great fun, still, an opportunity might have been missed; instead of semi-semi... 3 lovely, truly HALF nekkid women, with 3 strapping truly HALF nekkid men playing truly HALF nekkid plays, might well have greatness thrust upon 'em!)

I enjoyed the show very much.

After the show, some members of the cast and audience went running throught the streets in their underwear (or otherwise skimpy clothing). Kind of a half-streak. Fortunately, the weather was perfect, but they seemed a bit straggly as they went off. I hope it went well all the way.

THE NEO FUTURE OF THE NY NEOFUTURISTS

The NY Neo Futurists (NYNF) may be the most interesting, innovative, entertaining, and promising group in NY right now. Each Friday and Saturday, they present 30 plays in 60 minutes (no more than 60, sometimes a bit less; they set a timer), in a show called, "Too Much Light Makes The Baby Go Blind." (aka "TMLMTBGB")

A lot of cheerful chaos reigns. The audience gets a menu of 30 plays, and at "Curtain" the audience shouts out the number of the next play, and in a few seconds the cast has cleared the old play, set up the new one and started a new play, chosen randomly by the first number the cast hears.

The plays are drama and comedy and satire. Sometimes the very brevity of the plays adds its own humor to an otherwise serious piece.

The style is a mashup of sketch comedy, sketch drama and improv. The performers are not only very, very good, but it is a tour-de-force to be able to set up and perform any one of thirty plays at the drop of a title sheet. (The titles of the thirty plays are strung on a clothesline and pulled down as they are called out by the audience.) Moreover, every week a random number of plays (between two and twelve -- the roll of two dice) are removed from the repertoire, with new plays written and prepared to enter the show.

There is a manifesto of principle that guides the structure of the evening. One of the principles is reality. NeoFuturism "advocates the complete awareness and inclusion of the actual world within the theater." Several plays deal with this head-on, stemming from the real lives of the actors; some plays are literally "site-specific," bringing audience members into the show.

Randomness also determines the price. When you arrive, you go to the boxoffice and get a little token that says you are guaranteed a seat, then you go back to the queue. (The nights I came, the theater was almost, but not quite, sold out.) As you make your way into the theater, you roll the dice to determine how much over the base price you need to pay (usually adding up to somewhere between $10 and $15).

The show is crazy, entertaining, and thought provoking. Sometimes it can get over-chaotic, and some plays just don't feel completely realized. One of the newer (I think) members of the troupe, the beautiful Chisa Hutchinson, brings her skill as a grounded (but very free) actress and talented playwright ("She Like Girls," and other plays) to the show. The marriage of skilled playwriting with the highly energetic chaos and structure of the performance, promises to make NYNF potentially the most exciting show in the city.


Three NY NeoFuturists
At the Innovative Theater Nominations
Chisa Hutchinson (l), Nicole Hill (c), and Christopher Borg (r)
Photo by Eric Roffman

Indeed, I'd like to see NYNF web streaming all or part of their shows live to the world. I think it would be a sensation. (See, for example, this month's issue (Sep 2010) of FAST COMPANY and the story on "Must See TV: The Web's New Fall Lineup".)

But NYNF does not just do their weekend shows. They also produce full-length plays and special evenings. Just recently they did "The Soup Show," an all naked production.

Coming up in the fall is another "Main Stage" production:

"(un)afraid" ... "
...be afraid... be very afraid...
October/November 2010

And on the 20th and 21st of August, they are doing

"30 Half-Nekkid Plays in
60 Half Nekkid Minutes"
we bare (most of) our selves

It is not clear which half (top, bottom, or middle) of the actors is naked, or whether half the actors are completely naked, or (most likely) whether most of the actors are mostly Nekkid, but wearing some thing... like underwear. Note that, possibly, audience members who are Half-Nekkid may get a discount on the admission price.

The NY Neo Futurists generally perform at the Kraine Theater at 85 East 4th Street.

info@NYNF.org
http://www.nynf.org/

ENCOUNTERS (IN A NON LUCID STATE)

ENCOUNTERS (IN A NON LUCID STATE)
Rising Sun Performance Company

In most zero budget theater, the first big challenge for the actors is to compensate for the lack of elaborate costumes, sets, and even furniture, by willing everything -- their entire world -- into existence with their imagination. The biggest challenge for directors is to NOT let the actors overcompensate for the void by overacting. (NOTE: Improv, where worlds are created out of nothing in each moment, is great preparation.)

Of the five short plays in ENCOUNTERS (IN A NON LUCID STATE), performed by the Rising Sun Performance Company, the most successful was the genuinely original, fun, and funny RESIDUE, in which a young woman tries to gain control of her dreams. It is played in a series of short-short scenes in-between the other short plays. And it gets funnier as it goes along. It is nicely played by Anastasia Peterson.

Anastasia Peterson in RESIDUE
Photo by Akia Squitieri

ENCOUNTERS (IN A NON LUCID STATE) plays at the Red Room (upstairs from the Kraine Theater) 85 E. 4th St. (at 2nd Ave), through August 21.


CREDITS

"Residue"
BY Stacey Lane
Tim Butterfield (DIR)
Anastasia Peterson as Eleanor
Jason Vinoles as Leon
and with Maria Elekidou

"Meet Up"
BY Thomas J. Misuraca
Tiffany Hogan (DIR)
Becky Sterling Rygg as Cyndee
Maria Guillen as Jane
Christopher Schwartz as the Waiter

"Cookies"
BY John Patrick Bray
Leal Vona (DIR)
Becky Sterling Rygg as Darla
Michael Lee Jones as Walter
Allison Whittinghill as Tara

"Binge Honeymoon"
BY Rebecca Jane Stokes
Kelly Hawkins (DIR)
Anthony Mead as Ted
Becky Sterling Rygg as Darla

"Shakespeare Lives!"
BY Mark Harvey Levine
Tim Chaffee (DIR)
Michael Lee Jones as Zombie Will
Jason Vinoles as Cashio
Jonathan Reed Wexler as Guard

Produced by: Horse TRADE Theater Group and Rising Sun Performance Company One-Acts Literary Coordinator: Alexia Tate
Director of Photography/Video: David Anthony
Costume and Properties Designer: Leigh-Ann Ryklin

CREW
Production Manager: Lindsay Beecher
Production Stage Manager: Jak Prince
House Managers: Theresa Calves, Flor Bromley
Run Crew & Board Operators: Jessica Ritacco, Samantha Cooper, Carly Colbert, Jak Prince, Leigh-Ann Ryklin, Dan Vidor, Patrick Egan
Publicist: Emily Owens PR
Program Publisher: United Stages
Postcard Designer: Akia

NIGHT OF SEXY SHORTS

A late night of short sexy plays sounds like fun!

All's Well Theatre is looking for plays that are sexy, funny, witty for our late night festival.

There is no submission fee.

Plays need to be 10 minutes or less.

8 plays will be selected for production in late September.

DEADLINE for submission: August 1st 2010.

Please have your name, email, phone number, short bio and play attached in a single pdf or doc file. Email submissions only. Submit to: Hollie@allswelltheatre.com

Due to our limited staff and funding we are unable to offer feedback on submissions. Only those plays selected will be notified. Thank you and we look forward to reading your submission.

It's a one or two night event. The exact location is TBA, but it will be in a theatre of 60 seats or more in Manhattan.

We are a nonprofit theatre just starting out and are doing small events to

1. Raise funds
2. Get to know artists and build working relationships.
3. Allow our audience to do the same.

We will provide the play with a director. The director will cast it. We can provide one rehearsal in the space.

Or the writer may suggest a director. We'd ask to meet the director they have in mind, because we are trying to create a show and atmosphere of unity, and we want every play to be as strong as the one before and after it.

We really want a night of strong theatre!

There are no rules or regulations. We do hope the writers, directors, and actors invite (lots of) their people.

This is to be an enjoyable experience for artists, us and the audience.

Low maintenance.

THE LOVE FESTIVAL (SHORT PLAYS)

THE LOVE FESTIVAL
A festival of short plays
NOV 4 - 13, 2010

The festival, at the upper East Side Jan Hus Theater is being organized by Acting Works NYC, which describes itself as an "incubator."

Basically, the Love Festival considers itself a "presenter" not a "producer", which means the person submitting a script is responsible for putting the play up, and for promoting it.

Here's some more information:

THE LOVE FEST: ONE ACT FESTIVAL 2010

ActingworksNYC is seeking submisiions for the Love Fest: A One-Act Festival, to be presented at the legendary Jan Hus Theatre NYC: 120 seat proscenium stage theatre.

SEEKING: One-Act plays 30 minutes or less with a theme of LOVE (any form). Plays must be postmarked by August 29, 2010 along with a cover letter explaining why you and your play should be chosen, a brief bio and all contact info, including e-mail address.

No limit of Play Submissions per playwright.

Plays may have been produced or published before.

Must have simple light, sound and set requirements.

Theater is a shared space, must be prepared to take your props, set pieces and costumes away with you after each performance.

You will have access to rep plot, CD and I-Pod.

Plays should be neatly bound or stapled on the left-hand corner with numbered pages (no loose pgs. & binders please.)

If chosen, your play will be given a minimum of 6 performances:

Thurs.-Sat., Nov. 04 - Nov 13 & one tech rehearsal prior

There is no participation fee.

We will be providing Production/Lighting/Sound Technician for all 6 shows, however the nominal cost of this service will be divided amongst the chosen playwrights.

PLEASE NOTE: ActingworksNYC is presenting your show. Producing your show; i.e. all publicity...is YOUR RESPONSIBILITY. For more information, please visit www.thelovefest.info.


LINKS WITH SOME MORE INFORMATION:

SUBMISSION RULES
http://www.thelovefest.info/love%20fest/Contest%20Details.html

ACTING WORKS NYC
http://www.actingworksnyc.com/ACTINGWORKS_NYC/Home.html

ABOUT THE JAN HUS THEATER:
http://ourtownny.com/2010/04/28/second-chance-for-star-studded-theater/#more-6541

INDEPENDENT THEATER AWARD NOMINEES

IT AWARDS CELEBRATES OUTSTANDING ACHIEVEMENTS IN
OFF-OFF BROADWAY AT THEIR NOMINEE ANNOUNCEMENT PARTY


The New York Innovative Theatre Foundation, the organization dedicated to celebrating Off-Off-Broadway, announced the 2010 nominees at its annual sold-out event at the Carmine Street Recreation Center located at 25 Carmine Street.

It was a great party, with snacks and drinks, lots of opportunities to socialize and network.

(While the party part of the nominations party was great, the nominations announcements part of the evening left much room for improvement. Since everyone actually knew they were being nominated -- that's why they were there -- announcing the nominees was not so important; but introducing them would have been super. I'd suggest next year the nominees for each category -- they know who they are -- come on stage to be introduced.

Also, the projection of something from their show -- which was basically not visible this year -- should be projected with a really bright projector on a darkened screen -- or perhaps even on a huge TV screen: With an audience of up-and-coming actors, directors and producers surely some computer or TV or A/V manufacturer or vendor (eg... INTEL, SONY, SAMSUNG, PANASONIC, B&H..., BEST BUY...) might be interested in promoting their newest wares.

Here's another idea someone suggested... the winning director/producer/creative-director of this year's program be tapped to direct the "announcements show" from next year's nominations award party!)

The state of off-off Broadway is vibrant. One big trouble is that by the time a show is nominated, it has probably closed.

Here at BOBOOBLOG we're going to try to keep the spirit of high quality OOB alive by trying to PREVIEW the work of OOB theaters, theatrical companies, directors and actors that have proven to be exciting, or that promise to be exciting, or that we hope will be exciting!

(The object, obviously, is to spread the awareness of vital OOB theater pieces before they close -- while they are still alive and vibrant and able to be experienced!)

Here's a site that seems to maintain an up-to-date list of OOB shows playing (EVERY) today and (EVERY) tomorrow:

http://nytheatre.com/nytheatre/nythnow.php


My own taste and hope for cutting edge OOB is that it will be

• terrific at story telling (that comes first),


• political (in the sense of being immersed in what we need to understand about the world as it really is -- or should be),


• sexual,


• physical/emotional/intellectual,


• creative/original,


• brutally, courageously honest (in the writing and acting), and


• revealing (about ourselves, and the world).
  

Over the past six years, the IT Awards Ceremony has honored over 1,000 individual artists, over 350 productions, and 250 theatre companies, having collected over 22,000 ballots and involved more than 4,500 judges.

The 2010 Nominees include 118 individual artists, 55 different productions and 50 Off-Off Broadway theatre companies.

Caitlin Mehner
PINK
Photo by Eric Roffman

OUTSTANDING ENSEMBLE

Christine Rebecca Herzog, Itsuko Higashi, Jubil Khan, Fêtes de la Nuit, WeildWorks

Kaela Crawford, Julia Giolzetti, Caitlin Mehner, Alison Scaramella, Stephanie Strohm, Pink!, Down Payment Productions

Marc Bovino, Joe Curnutte, Michael Dalto, Stephanie Wright Thompson, Samuel and Alasdair: A Personal History of the Robot War, The Mad Ones
Jenny Bennett, Melissa D. Brown, John Graham, John J. Isgro, Courtney Kochuba, Kyle Minshew, Amanda Nichols, Katherine Nolan Brown, Jed Peterson, Sean Reidy, Miranda Shields, Douglas Taurel, Nate Washburn, The Disorder Plays, Milk Can Theatre Company

Joie Bauer, David Bishins, Gina Nagy Burns, James Patterson, Chris Skeries, Harris Yulin, Janet Zarish, The Glass House, Resonance Ensemble

Daniel Abeles, Craig Jorczak, Jacob Murphy, Anna O'Donoghue, Laura Ramadei, Claire Siebers, Too Little Too Late, Red Elevator Productions




Craig Jorczak / Jed Peterson
TOO LITTLE, TOO LATE / THE DISORDER PLAYS
Photo by Eric Roffman

OUTSTANDING SOLO PERFORMANCE

Dan Berkey, Remission, terraNOVA Collective’s soloNOVA Arts Festival

Michael Graves, The Report of My Death, One Armed Man, Inc. in association with Oracle Theatre, Inc. and Faux-Real Theatre Company

David Harrell, A Little Potato and Hard to Peel, ADH Enterprises

Erin Markey, Puppy Love: A Stripper's Tail, terraNOVA Collective’s soloNOVA Arts Festival

Brian McManamon, It or Her, terraNOVA Collective’s soloNOVA Arts Festival

Avery Pearson, Monster, Really Sketchy and terraNOVA Collective’s soloNOVA Arts Festival

Jesse Zaritt, Binding, Theatre C and terraNOVA Collective’s soloNOVA Arts Festival


OUTSTANDING ACTOR IN A FEATURED ROLE

Michael Cyril Creighton, MilkMilkLemonade, The Management & Horse Trade Theater Group

Amir Darvish, Psych, Cake Productions

Kyle Haggerty, The Hypochondriac, the cell theatre company

Douglas Scott Sorenson, The Hypochondriac, the cell theatre company

Evan Thompson, Loyalties, Unity Stage Company

Paco Tolson, The Brokenhearteds, I Mean! Productions



Jessica Crandall
AGAMEMNON
Photo by Eric Roffman


OUTSTANDING ACTRESS IN A FEATURED ROLE

Jess Barbagallo, MilkMilkLemonade, The Management & Horse Trade Theater Group

Nikole Beckwith, MilkMilkLemonade, The Management & Horse Trade Theater Group

Jessica Crandall, Agamemnon, LaMaMa Experimental Theater Club

Jennifer Harder, MilkMilkLemonade, The Management & Horse Trade Theater Group

Elaine O'Brien, Granada, Polybe + Seats

Anna O'Donoghue, Too Little Too Late, Red Elevator Productions


Frank Anderson
THE RETURN OF PETER GRIMM
Photo by Eric Roffman
OUTSTANDING ACTOR IN A LEAD ROLE

Frank Anderson, The Return of Peter Grimm, Metropolitan Playhouse

Marc Bovino, Samuel and Alasdair: A Personal History of the Robot War, The Mad Ones

Joe Curnutte, Samuel and Alasdair: A Personal History of the Robot War, The Mad Ones

Christopher Domig, A Mysterious Way, Firebone Theatre

John Halbach, Children At Play, CollaborationTown

Harris Yulin, The Glass House, Resonance Ensemble

Susan Louise O'Connor and Scott Ebersold (Director)
CHILDREN AT PLAY
Photo by Eric Roffman
OUTSTANDING ACTRESS IN A LEAD ROLE

Elizabeth A. Davis, Emily, An Amethyst Remembrance, Firebone Theatre

Elyse Mirto, Next Year in Jerusalem, WorkShop Theater Company

Susan Louise O'Connor, Children At Play, CollaborationTown

Tanya O'Debra, Radio Star, Horse Trade Theater Group and Tanya O'Debra

Kristen Vaughan, The Desk Set, Retro Productions

Stephanie Wright Thompson, Samuel and Alasdair: A Personal History of the Robot War, The Mad Ones


OUTSTANDING CHOREOGRAPHY/MOVEMENT

Nina Ashe, Manhattanpotamia IV, The Hyperion Theatre Project

Jonothon Lyons, The Tenement, The Associated Mask Ensemble

Austin McCormick, Le Serpent Rouge, Company XIV

Christine O'Grady, Children of Eden, Astoria Performing Arts Center

Kim Weild, Fêtes de la Nuit, WeildWorks

Jesse Zaritt, Binding, terraNOVA Collective’s soloNOVA Arts Festival


Kelly O'Donnell Tiffany Clementi
FLUX THEATRE ENSEMBLE
Photo by Eric Roffman

Candice Holdorf
FLUX THEATRE ENSEMBLE
Photo by Eric Roffman
OUTSTANDING DIRECTOR

Daniel Brodie and Jonothon Lyons, The Tenement, The Associated Mask Ensemble

Heather Cohn, The Lesser Seductions of History, Flux Theatre Ensemble

Lila Neugebauer, Samuel and Alasdair: A Personal History of the Robot War, The Mad Ones

Alex Roe, The Return of Peter Grimm, Metropolitan Playhouse

Brian Smith, Pink!, Down Payment Productions

Kim Weild, Fêtes de la Nuit, WeildWorks


OUTSTANDING LIGHTING DESIGN

Tim Cryan, Welcome to the Woods, The International Theatre Laboratory Workshop

Charles Foster, Fêtes de la Nuit, WeildWorks

Gina Scherr, Le Serpent Rouge, Company XIV

Joel Silver, Pink!, Down Payment Productions

John Tees III, Down Range, Delano Celli Productions

Christopher Weston, The Return of Peter Grimm, Metropolitan Playhouse


OUTSTANDING COSTUME DESIGN

Stephanie Alexander, Pink!, Down Payment Productions

Brooke Berry and Mark Mears, Psych, Cake Productions

Olivera Gajic, Le Serpent Rouge, Company XIV

Viviane Galloway, The Desk Set, Retro Productions

Julianne Kroboth, Craven Monkey and The Mountain of Fury, Piper McKenzie

Lisa Zinni, Killing Women, kef theatrical productions


OUTSTANDING SET DESIGN

Daniel Brodie, The Tenement, The Associated Mask Ensemble

Rebecca Cunningham, The Desk Set, Retro Productions

Michael P. Kramer, Children of Eden, Astoria Performing Arts Center

Zane Pihlstrom, Snow White, Company XIV

Brian Scott, Fêtes de la Nuit, WeildWorks

Amanda Stephens, Pink!, Down Payment Productions


Mark Valadez
CAUCASIAN CHALK CIRCLE
Photo by Eric Roffman
OUTSTANDING SOUND DESIGN

The Broken Chord Collective, Thunder Above, Deeps Below, Second Generation Productions, Inc.

Stowe Nelson, Samuel and Alasdair: A Personal History of the Robot War, The Mad Ones

Shane Rettig, Alice in Slasherland, Vampire Cowboys Theatre Company

Philip Rothman, Proof, Tongue in Cheek Theater Productions

Jeanne Travis, The Desk Set, Retro Productions

Mark Valadez, Caucasian Chalk Circle, Performance Lab 115


OUTSTANDING INNOVATIVE DESIGN

C. Andrew Bauer, Fêtes de la Nuit, WeildWorks

Daniel Brodie, The Tenement, The Associated Mask Ensemble

Heather E. Cunningham and Casandera M.J. Lollar, The Desk Set, Retro Productions

Daniel Heffernan, The Glass House, Resonance Ensemble

Jonothon Lyons, The Tenement, The Associated Mask Ensemble

Zane Pihlstrom, Snow White, Company XIV

Matt Tennie, Alice in Slasherland, Vampire Cowboys Theatre Company

David Valentine, Alice in Slasherland, Vampire Cowboys Theatre Company


Michael Kosch
THE RETURN OF PETER GRIMM
Photo by Eric Roffman
OUTSTANDING ORIGINAL MUSIC

Michael Kosch, The Return of Peter Grimm, Metropolitan Playhouse

Jonothon Lyons, The Tenement, The Associated Mask Ensemble

Andrew Mauriello, Radio Star, Horse Trade Theater Group and Tanya O'Debra

Carl Riehl, Laika Dog in Space, New York Neo-Futurists

Colonna Sonora, 'Tis Pity She's a Whore, Toy Box Theatre Company

Mark Valadez, Caucasian Chalk Circle, Performance Lab 115

Anna O'Donoghue
TOO LITTLE TOO LATE
Photo by Eric Roffman
OUTSTANDING ORIGINAL SHORT SCRIPT

Lorraine Cink, Emilia’s Wish in The Disorder Plays, Milk Can Theatre Company

Cheryl L. Davis, BMW in The Disorder Plays, Milk Can Theatre Company

Amy Herzog, Christmas Present in Too Little Too Late, Red Elevator Productions

ML Kinney, What If... in The Disorder Plays, Milk Can Theatre Company

Bethany Larsen, The Third Date in The Disorder Plays, Milk Can Theatre Company

Jonothon Lyons, The Tenement, The Associated Mask Ensemble


OUTSTANDING ORIGINAL FULL-LENGTH SCRIPT

James Comtois, Infectious Opportunity, Nosedive Productions

Stacy Davidowitz, Pink!, Down Payment Productions

Ashlin Halfnight, Balaton, Electric Pear Productions

Adam Kraar, Empire of the Trees, Wizard Oil Productions

Tanya O'Debra, Radio Star, Horse Trade Theater Group and Tanya O'Debra

Crystal Skillman, The Vigil or The Guided Cradle, Impetuous Theater Group & The Brick Theater


Cara Francis
NY NEOFUTURISTS / THE SOUP SHOW
Photo by Eric Roffman

THE NY NEOFUTURISTS
Photo by Eric Roffman
OUTSTANDING PERFORMANCE ART PRODUCTION

Binding, terraNOVA Collective’s soloNOVA Arts Festival

Craven Monkey and The Mountain of Fury, Piper McKenzie

Diagnosis of a Faun, LaMaMa Experimental Theater Club

Haunted House, Vortex Theater Company

Manhattanpotamia IV, The Hyperion Theatre Project

Remission, terraNOVA Collective’s soloNOVA Arts Festival

The Soup Show, New York Neo-Futurists

Frank Viveros, Lanie Zipoy & Teisha Duncan
CAROLINE OR CHANGE
Photo by Eric Roffman
OUTSTANDING PRODUCTION OF A MUSICAL

Caroline, or Change The Gallery Players

Children of Eden, Astoria Performing Arts Center

Romance, Romance, The Active Theater

Rootless: La No-Nostalgia, terraNOVA Collective’s soloNOVA Arts Featival

The Cradle Will Rock, Theater Ten Ten

Top of the Heap, The Gallery Players

Jonathon Lyons
THE TENEMENT
Photo by Eric Roffman

OUTSTANDING PRODUCTION OF A PLAY

Fêtes de la Nuit, WeildWorks

Pink!, Down Payment Productios

Samuel and Alasdair: A Personal History of the Robot War, The Mad Ones

The Desk Set, Retro Productions

The Return of Peter Grimm, Metropolitan Playhouse

The Tenement, The Associated Mask Ensemble

SAVE THE DATE:
Fifth Annual IT Awards Ceremony
Monday, September 20, 2010
Location: TBD

The New York Innovative Theatre Foundation is a not-for-profit organization, which recognizes the great work of New York's Off-Off-Broadway—honoring its artistic heritage and providing an alliance for this extensive and richly varied community. As advocates for Off-Off-Broadway, they recognize its unique and essential role contributing to global culture.

Each season, The New York Innovative Theatre Foundation publicly recognizes excellence in Off-Off-Broadway, with a high-profile awards ceremony. The New York Innovative Theatre Awards celebrate the community and honor some of the previous year’s greatest achievements. The IT Awards heighten audience awareness and foster greater appreciation of the New York theatre experience.

Alec Harrington
Director, AGAMEMNON
Holding a sponsor
Photo by Eric Roffman
The nomination party was sponsored by:

Lights Up Cue Sound www.lightsupcuesound.com
GUS (Grown Up Soda) www.drinkgus.com
Yuengling www.yuengling.com
Drew & Rogers, Inc. www.drew-rogers.com
Kampfire Films PR www.kampfirefilmspr.com
United Stages www.unitedstages.com
Kyden Machine Inc. www.kydeninc.com

Here are some links to theaters, theater companies, actors, and directors named in these nominations:

THE NEW YORK INNOVATIVE THEATER AWARDS
www.facebook.com/nyitawards

THE DISORDER PLAYS
www.theatrescene.net/ts/ea.nsf/By+Category/A69D2C0072B8911F8525771700587F4E

SAMUEL AND ALASDAIR: A PERSONAL HISTORY OF THE ROBOT WAR
www.bricktheater.com/samuel

THE FLUX THEATER ENSEMBLE
www.fluxtheatre.org/

PINK: THE PLAY
http://www.pinktheplay.com/

PERFORMANCE LAB 115
http://www.pl115.org/

THE METROPOLITAN PLAYHOUSE
www.metropolitanplayhouse.org/

THE GALLERY PLAYERS
galleryplayers.com

HERE ARTS CENTER
www.here.org/

FETES DE LA NUIT
www.fetesnyc.com/home.html

THE NEW YORK NEOFUTURISTS
nyneofuturists.org/site/

TERRANOVA COLLECTIVE & SOLONOVA ARTS FESTIVAL
www.terranovacollective.org/SoloArtsFestival.php

JED Q PETERSON
www.jedqpeterson.com/

CAITLIN MEHNER
http://www.imdb.com/name/nm2790561/

JONOTHON LYONS
jonothonlyons.com/

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